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SIR WIIXIAM BEECHEY is one of the many dis- 
tinguished artists of the Early English school whose 
merits have not been sufficiently recognised, and the 
object of this book is to show that this neglect is 
unjustified. It is not claimed that Beechey ranks side 
by side with Sir Joshua Reynolds, Gainsborough and 
Romney ; but just as all officers in an army cannot be 
Generals at the same time, at all events so it may be 
urged that men of the second rank are indispensable. 
Beechey, with such men as Opie, Northcote, and many 
others greatly helped to consolidate and to continue 
the position and work begun by the few men whose 
fame has to some degree overshadowed the merits and 
achievements of the lesser artists. 

This monograph is biographical and iconographical 
rather than critical. Each generation has its formulas 
and schools of art criticism, but the opinion of to-day 
often becomes the archaic curiosity of to-morrow. I 
have therefore taken upon myself the less ambitious 
but, I think, the more 'permanently useful office of 
chronicler. My own preference would have been a 
Catalogue Raisovm& of Beechey 's work, and it is in this 
form that my material was first arranged ; but it would 



not have fallen in with the general scheme of the series 
in which this volume appears. So my Catalogue 
Raisonnt may be conveniently postponed, and an 
exhaustive Index serve here in its stead. 

The material in connection with Beechey and his 
pictures is much more voluminous than I had antici- 
pated. For over sixty years his brush was never idle, 
and he had as sitters more than an average share of the 
distinguished and wealthy people of the last quarter of 
the eighteenth century and of the first thirty-nine years 
of the nineteenth century; and so it would not be 
difficult to compile a book in connection with his work 
and his clients at least twice the size of this. As a first 
attempt, however, perhaps my hook will be found 
sufficiently exhaustive and useful. 

Since the work was commenced, and after much of it 

was in type, many fresh facts have come under my 

notice. I had overlooked the acceptable bequest by 

William Thomas Sandby to the National Portrait 

Gallery in July 1904, namely, Beechey's portraits of his 

old friend Paul Sandby, painted in 1789, and Thomas 

Sandby painted in 1792. These are the two portraits 

which were exhibited at the Royal Academy of the 

respective years. The portrait of Mrs. Riley, mentioned 

on page 146, is more fully described on page 192, and 

was lent to the recent exhibition of Old Masters at 

Burlington House (No. 118), by Sir Isidore Spielmaim. 

The Oddie group with the title of " Children at Play " 

was reproduced in colours from the engraving by T- Park 

in The Connoisseur, vol. ii. page 7; and a similar 



reproduction of Wilkin's engraving with the legend 
" Here Poor Boy without a Hat, take this Ha'penny " 
(page 140) was published in the same magazine of 
November 1906, The late Baroness Burdett-Coutts 
exhibited at the Grafton Gallery, 1894 (No. 172A>, 
one of Beechey *s many portraits of his wife. The 
publication of the Registers of St. GeorgeX Hanover 
Square, has revealed the exact date, unknown to me 
until after the earlier sheets were printed off, of Beechey 7 s 
second marriage. 

I have received assistance from so many friends and 
correspondents that specific enumeration is difficult. 
My special thanks are due to several members of the 
artist's descendants, particularly to Mr. Ernest Beechey 
and his uncle, the late Canon St. Vincent Beechey, for 
the loan of letters ; to Mr. Sydney Chancellor and to the 
President and Council of the Koyal Academy for per- 
mission to copy their extremely interesting and valuable 
Beechey Account Books ; to Mrs, Champion Jones, to 
Mrs* Commeline, to Mrs. F. A. Hopkins, to Mr. Herbert 
Jackson, for kindnesses of various kinds, all of which 
are acknowledged, however feebly, in the respective 
places. The Earl of Altamont has been good enough 
to take a keen interest in the book, and has settled 
several points about which I was in doubt^-notably in 
connection with the group exhibited at the Royal 
Academy in 1809 (page 112), No. 62. Some of the 
papers of the period described this picture as represent- 
ing Mrs. and Miss Wetherell, and others as of Mrs. 
and Miss Cockerell. Lord Altamont tells me that it 



represents Mrs. S, P. Cockerell, and Miss Cockerell, 
afterwards Mrs. Hungerford Pollen. This picture, with 
the portrait of Samuel Pepys Cockerell (page 200), now 
belongs to Miss Cockerell of Mandeville Place, W. I 
am likewise indebted to Lord Altamont for clearing up 
the mystery in connection with the two copies of the 
Lady Sligo portrait mentioned on page 114: these 
are, there can be no doubt, the two half-length 
portraits in fancy dress now at Earl Howe's residence at 
Gopsall, Leicestershire. I have still further to acknow- 
ledge from the same source the information that 
Lady Emily Browne, of Montagu Square, possesses a 
portrait of Lord Stowell by Beechey of which I had 
no record. Mr. H. B. Spencer, the artist's grandson, 
possesses a portrait of Beechey by himself painted in 
1794, and also H. P. Bone's enamel copy of it. 

I am also under considerable obligations to Mrs. 
Bruce Clarke, to Colonel Noel, to Mr. Humphry 
Ward, to Messrs. Thomas Agnew and Sons, to Messrs* 
Colnaghi and Co., to Messrs. Christie, and to many 
others, particularly to the owners of the various 
pictures which form the subject of the illustrations in 
this book. These illustrations will do much to sub- 
stantiate Beechey's claim to rank as one of the leading 
figures in the annals of the Early English School 
of painting. There must still be in existence a large 
number of important portraits of which I have no 
record, and for particulars of which I should at any 
time be grateful. 

W, R. 





II. 1788-1797 ....... 30 

III, i798-:8o6 ....... 57 

IV. 1807-1817 ....... 104 

V. 1818-1838 ....... 141 



VIII. BEBCHEY ACCOUNT BOOKS, 1789-91, 1807-1826 220 



INDEX ........ 292 



Beechey, Sir William 
Augusta Sophia, Princess 
Augusta Sophia, Princess 

Bathurst, Lady G. 


Beechey, Sir William . 
Beechey, Sir William 
Beechey, Lady 
Bernard, Lady 
Bernard, Lady Thos. 

(Psyche) . 
Bourgeois, Sir P. F. 
Boyce, Master 
Boy dell, John 
Brother and Sister 
Charlotte, Queen . 

Coppell, Mrs. 
Coutts, Mrs. . 


E. G. Raphael, Esq. . 
Buckingham Palace . 
Duke of Cambridge's 


Mrs. Marsland Hopkins . 
National Portrait Gallery . 
Mrs. F. A. Hopkins 
E. G. Raphael, Esq. 
James Price Collection 

W. Younger, Esq. . 

Dulwich Gallery 

Sir C. Tennant 

National Portrait Gallery . 

The Louvre 

Executors of W. L. EJMns, 


Henry Pfungst, Esq. 
From the Engraving . 











Crotch, William . 
Crowe, Miss . 
De La Warr, Lady 
Duckworth, Admiral 


Elizabeth, Princess 
Fiddler, the Blind . 
George III. . 

George III. Reviewing 

the Dragoons 
Hallatn, Henry 
Hebe .... 
Herbert, Miss Georgina . 
Hill, Mrs. and Child 
Hoare, Hon. Louisa 
Idle, Master 
Kent, the Duke of 
Lady and Child 
Lake, General Viscount, 

and Son 
Little Mary . 
Marshall, Mrs. 

Mary, Princess 
Merry, Mrs. . 
Noel, Hon. Mrs. W. M. 
Nollekens, Joseph . 


Royal Academy of Music 76 

E. S. Trafford, Esq. . 80 

Messrs. Dowdeswell . . 86 

From the Engraving . . 92 

Buckingham Palace . . 96 

Mrs. F. A. Hopkins . 100 
Executors W. L. ElJcins, 

Esq 106 

Kensington Palace 
Eton College . 

. 1X2 

. 116 

. 122 

Rev. T. Crawford, B.D. , 126 

Miss L. J. Reeve . , 132 

Col. W. F. L. Noel . 138 

Mrs. Oscar Leslie Stephen 142 

National Portrait Gallery , 148 

W. W. Hallam, Esq. . 154 

Major J. C. Wardlaw , 158 

H. J. Pfungst, Esq. . 164 
Messrs, P. and D. Colnaghi 

and Co. . . , 170 

Buckingham Palace . < 176 
M. C. Sedelmeyer . .182 

Col. W.F. L.Noel, . iBB 

National Gallery . 1 94 




Pelham-Clinton, Lady C. 
Biley, Mrs. . 
St. Vincent, The Earl of 
Shelley, John, and his 

Sheridan, Mrs., as St, 

Cecilia, after Sir J. 

Reynolds . 
Siddons, Mrs. 
Sligo, Howe Second 

Marquess of 
Tambourine Girl, The . 

Wilkie, Sir David . 
York, the Duchess of 


Earl of Radnor . .200 

Sir Isidore Spielmann . 206 

The Lady Harris , .212 

Dr. Ckarles E. Shelley . 2iB 

The Misses Cameron 
National Portrait Gallery . 

Marquess of Sligo 
Messrs. Thomas Agneiv and 

Sons .... 
National Gallery of 








SIR WIIXIAM BEECHEY occupies a singularly interesting 
place in the annals of English art. The contemporary 
and to some extent the friendly rival of the great men 
who founded the early English school of portrait 
painters, Reynolds, Gainshorough and Romney, he 
long outlived them all. He was an exhihitor at the 
Royal Academy in the year of Constable^ birth, and 
was still exhibiting a year after his death. His appear- 
ance at the Royal Academy dates four years before that 
of Hoppner, whom he survived nearly thirty years ; he 
was exhibiting when his greatest rival, Sir Thomas 
Lawrence, was a child of eight, and was represented on 
the walls of the Academy for eight years after Law- 
rence's death. As an exhibitor he had twenty-six years 
to the good when Sir Francis Grant, the eighth Presi- 
dent of the Royal Academy, was born. It will be seen, 
therefore, that Sir William Beechey^s career as an 
exhibiting artist, covering as it does the extraordinarily 
long period of sixty- two years, is almost unique.* It 
began with the birth or, at all events, with the early 

* It may be mentioned that John Linnell, sen. (1792-1882), 
was exhibiting at the Royal Academy from 1807 to iSSi, a period 


youth of English art, and remained an important 
factor in the progress of that art long after it had 
triumphed over its early difficulties, and had emerged 
into the arena of acknowledged success. 

In other respects, too, Beechey had witnessed the 
passing of the old order of things and the establishment of 
the new ; the gradual metamorphosis of the London of 
the Stuarts and the Georges into the London of Victoria. 
The introduction of gas, railways and steamboats into 
every-day life were all witnessed by him; the entire 
political re-arrangement of the Continent, and the 
gradual expansion of England from little more than a 
mere island kingdom to a great and mighty world- 
power, were among the events which synchronised with 
his working life. It seems strange, therefore, that a 
man who lived through such an interesting period 
should have had to wait so long for a separate 
biography. It cannot be urged in extenuation of this 
neglect that his individuality was a small one, or that 
his work falls so far behind that of his rivals and con- 
temporaries that either may be regarded as a negligible 
quantity. For he was a man of strong character and 
originality, and enjoyed the patronage of the most 
distinguished men of his times. A mere glance at the 
reproductions in this book will sufficiently demonstrate 
the high quality of his work. The interest and im- 

of seventy-four years, which is probably a unique record so far 
as this country is concerned. Mr. W, P. Frith, R,/L> was 
exhibiting from 1840 to 1902, a length of time identical with that of 
Beechey, who, however, exhibited up to the year of his death, 
Mr. Frith is still living, but has ceased to exhibit 

I7S3-J787 3 

portance of his art may be seen to-day, but 
only imperfectly, in our national collections, for the 
finest of his pictures are in private hands and in the 
galleries of very many of the great residences in the 

The Beecheys had been settled at or near Burford on 
the Windrush for many generations. The artist's 
grandfather, Samuel, married Eleanor Mills, daughter 
of William Mills, and died in 1764. Their elder 
son, William, married Hannah, daughter of Francis 
Read (who was born in Dublin and who died at 
Burford). The elder William had one brother, 
Samuels who married and settled, it is not known 
when, at Chipping Norton, and two sisters. Both 
William Beechey* and his wife died when their 
children were quite young, and the responsibility of 
bringing them up devolved upon Samuel Beechey, who, 
according to the family documents, was a solicitor or 
attorney. These children, four sons and one daughter, 
included William, afterwards Sir William Beechey, R. A., 
Samuel, who died unmarried about 1780, Thomas, who 
died in infancy, Hannah, who was twice married, and 
the youngest child, named Thomas after his deceased 

It was Samuel Beechey's wish that his nephew should 
become a lawyer, but the boy did not at all take to the 
proposition, for from his very early years his mind was 

* It is interesting to note that the Gentleman's Magazine records 
the death on December 28, 1789, "at an advanced age" of 
"William Beechey, senr., Esq., of Dublin." 


set on drawing, and his lesson-books were embellished 
with his sketches and caricatures. Young Beechey 
doubtless attended the old-established Grammar School 
at Burford, and his artistic instinct would have been 
excited and cultivated by the famous Lenthall gallery 
of portraits which remained in the old hall at Burford 
until the choicer portion of them came up for sale at 
Christie's in 1808. After various reproofs, Bcechey^s 
uncle, in despair, took to shutting the boy up in an 
attic with nothing but his school-books until he had 
mastered his lessons. One day the uncle went up as 
usual to let the boy out, and found the bird flown. He 
had escaped by climbing down a pear tree, and on 
looking out of the window the uncle saw the boy flying 
across the fields. He set off after him, and on seeing 
that he was pursued the boy swam across the river, 
escaped, and begged his way to London* Soon after he 
arrived he passed a carriage-painter^ establishment and 
went in to watch ; the man seemed to be amused, and 
asked him what he wanted ; he said he wanted to earn 
some money, and thought he could paint. The good- 
natured man said he should try, and gave him a board 
and paints and a device to copy ; he was so pleased 
with the result that he finally employed him to assist. 
He got on so well that he painted the arms, etc., of 
several great people's carriages, one of them, on hearing 
it was quite a youth who had painted the panel of his 
carriage, asked to see him, heard his history, and had 
him taught to paint. While he was still a youth he 
went with some friends for a holiday into the country, 

Collection A. Iltscligifs 

Buckingham Palace 

1753-1787 5 

and they decided upon a walking tour from London to 
Norwich. On their way they stopped one night at an 
inn, and the next day after breakfast discovered that 
they had no money left. Beechey at once offered to get 
them out of the dilemma, which he did by offering to 
replace the very shabby sign-board \vith a brand-new 
one in discharge of their account. The landlord agreed, 
and Beechey furnished him with a splendid sign of St. 
George and the Dragon. In after years Beechey made 
an attempt to get hold of this early work, but the land- 
lord and the sign had both disappeared* 

Such are the stories of Beechey Ts early youth as handed 
down in the family. 

The hitherto published accounts of Beechey's earlier 
years differ somewhat from those preserved by his 
descendants. Three obviously inspired accounts appeared 
during his lifetime the first in the Monthly Mirror of 
July 1798, the second in " Public Characters " of 1800- 
1801, and the third in "The Cabinet of Modern Art," 
1836, edited by A. A. Watts, We gather from these 
articles, that he was born at Barford* Oxfordshire, on 
December 12, 1753, and that he was intended "for 
the law," for which purpose he was placed ** at the 
proper age" under an "eminent conveyancer" near 
Stow-in-the-Wold, Gloucestershire, But Beechey was 

tf Early foredoom' d his father's [*,e., uncle's] soul to cross, 
And paint a picture when he should engross." 

He did not remain long at his first place : he was 
bent on coming to London, and to London he came, 


He is said to have been " disillusioned," finding " neither 
pavements of gold nor houses of silver." He obtained 
employment with a Mr. Robinson, of Inner Temple 
Lane, with whom he remained until Robinson's death ; 
he then went to a Mr. Hodgson in Cliffords Inn, and 
from here he passed to the employment of Mr. Owen,* 
of Took's Court, Cursitor Street, Chancery Lane, to 
whom he was articled. 

It was during his engagement with Owen that he 
accidentally became acquainted with several students 
of the Royal Academy. "The objects in which they 
were engaged" (says the writer of the notice in " Public 
Characters "), a attracted and enchanted him ; by the 
splendid assemblage of colours which they mixed upon 
the palette, and transferred to the canvas, his eye was de- 
lighted and, by the field thus opened to him, his disgust 
of his original profession increased, and he determined 
to change his pen for the pencil, his ink-stand for the 
colour-box, and his desk for the easel ; eagerly embarked 
in a new pursuit, and exerted every effort to acquire the 
rudiments of that art in which he has since so eminently 
distinguished himself." He prevailed upon Mr. Owen 
to accept a substitute for the remaining time of hiB 
articles, and in 1772 entered the Royal Academy School 
as a student. Young Banister was there at the time, 
and the two students soon became intimate friends* 

According to several writers, Beechey received lessons 

* In the 1782 edition of "Browne's General Law List/' we 
find in the " List of Attornies," the name and address of " Owen, 
Charles, Took's Court, Cursitor Street." 

from Sir Joshua Reynolds himself, but this is doubtful ; 
Dawson Turner, who knew the artist personally, states 
in his "Sepulchral Reminiscences," 1848 (p. 74) that 
Beechey studied under Zoffany,and the style of his earlier 
works strongly supports this theory. The probability is 
that he may have received hints from and visited the 
studios of both artists. It is also stated that soon after 
his entrance to the Academy schools, Beechey married, 
" before he had secured any certain provision for him- 
self.'" And this brings us to a point about which there 
is no room for any doubt namely, that Beechey was 
twice married. This fact seems to be unknown to any 
of his numerous descendants. In more than one 
biography published during his lifetime there are 
references to the fact of his having been married more 
than once. Moreover, in J. Chamber's " General 
History of the County of Norfolk," 1829 (vol. i. p. 1114), 
we have the following exceedingly explicit information 
respecting the artist and his second wife : " After the 
death of his first wife he married the present Lady 
Beechey, then residing at the foot of Household Hill, 
who, having very early discovered considerable talent 
in crayon drawing, he, with that liberality which is his 
characteristic, gave her gratuitous instruction, and, 
having married her, he went to reside in London ; by this 
union he has fifteen children, thirteen of whom are living." 
Who the first wife was, when they were married, or 
when she died, are points about which we have found 
no information. That she was with him in Norwich 
when he first went there may be inferred from an 


erased passage in his Note Book quoted on p. 20. If 
the identity of his first wife is involved in uncertainty 
that of his second is at least real. Anne Phyllis Jessup 
(or Jessop) is described as a woman of great beauty, and 
the existing portraits of her, both by her husband and 
by herself, go to prove this. They are said, in the family, 
to have effected a "runaway match," but perhaps a 
u hurried marriage " would be a more accurate descrip- 
tion. Miss Jessop (this seems to me the more generally 
accepted form of spelling) was born at Thorpe on 
August 3, 1764, the daughter of William Jessop, of 
Bishopsgate, Norwich, and his wife n6e Hart, a 
"collateral descendant of Shakespeare. 1 ' The second 
marriage presumably did not take place until 1787, for 
in that year " Miss A. P. Jessup," of Norwich, exhibited 
five drawings at the Royal Academy. 

He made rapid progress as an art student, and at an 
early stage " found employment " in copying Sir Joshua 
Reynolds and " painting panel ornaments for Lucas the 
coach-builder." Beechey painted in the lifetime of 
Sheridan (who died in 1816), a copy of Reynolds^ 
famous picture of Mrs. Sheridan as St. Cecilia, exhibited 
at the Royal Academy in 1775, as may be seen from an 
entry in the Account-Book under date, March 20, 1826 ; 
the copy was never claimed by Sheridan, and it was 
sold to a Mr. Burgess for I7ogs. This very fine full-size 
copy was the property of the late Mr. T. H, Woods, 
a former partner in the firm of Christie, Manson and 
Woods, at whose sale on May 26, 1906, it was bought 
by Mr. J. L. Rutley, for 7$ogs. " During this period " 

fiYoni th& Dnka of Cambrtdy^ t 'oil f ft ion 

1753-1787 9 

(we are again quoting " Public Characters "), " labouring 
up hill to attain that rank in his profession which he 
must have felt he had a right to, he inevitably experienced 
many difficulties under which a common mind would 
have sunk. But the ardour and energy of his spirit 
supported him ; for, happily, with the ambition of 
attaining reputation, he possessed the power of deserving 
it, and surmounted every obstacle.''' 

An artist's first picture like an author's first book 
possesses a distinctly sentimental interest, at all events 
to the artist himself and to his family. Henry Angel o 
tells us in his interesting " Reminiscences " : " It is with 
additional gratification I can add that the second 
portrait painted by Sir William Beechey was of my 
father, the first which this distinguished veteran of the 
British School painted, being that of my father's 
esteemed friend, the Chevalier Ruspini, whose elegant 
hospitalities I have often enjoyed at his house, then 
situated at the corner of St. Albans Street. " As 
Angelo also claimed that Hoppner's first portrait was 
painted for him, perhaps his memory was slightly con- 
fused. According to the accounts published in Beechey's 
lifetime, the artist's first serious patron would seem to 
have been Dr, Strachey, afterwards Archdeacon of 
Suffolk, who happened ** by accident to see one of his 
productions," with which Strachey was so pleased " that 
he immediately employed the artist to paint himself 
and family " (Monthly Mirror). But here again there 
seems to be a slight discrepancy, for Beechey's most 
important work for Dr. Strachey was done in 1789, 


according to the artist's Account-Book, but there were 
perhaps earlier commissions, of which we have no record, 
executed for the Archdeacon. Soon after this Beechey 
was introduced by Mr. Fenton,* "a gentleman of very 
elegant manners, and whose love for poetry and the 
arts is not unknown to the world," to Mr. Ruspini, who, 
in his turn, introduced him to the Duke and Duchess 
of Cumberland. The picture of the Chevalier's family 
was, it is said, Beechey^s first exhibit at Somerset 
House. This brings us to the year 1776, when Beechey 
(whose address is given in the catalogue as a at Mr, 
Leader's, Cross Street, Carnby Market") appeared for 
the first time at the Academy, Nos. 20 and 2O3t being 
" a small portrait " and " ditto." 

By "a small portrait" is meant a portrait on a 
small canvas similar to those executed by Hogarth and 
by Zoffany, or what are known as "small whole 
lengths," Curiously enough, several of theae portraits, 
among Beechey's earliest efforts, have come into the 
sale room during the last few years. Two portraits of 
Archdeacon Strachey, one a whole length on canvas^ 
36 in. by 28 in., were sold at Christie n s on May 7, 1898, 
but their very interesting character pasnecl without 
notice and they all sold for less than 8 each* One 
might have been almost described as a large miniature, 
seeing that it only measured n| in. by 9 in. It was 

* " Mr. Fenton" was Richard Fenton (1746-1821}, topographer 
and poet, whose l< Poems " appeared in 1773, he was a K.C, imd the 
historian of Pembrokeshire ; Beechey's portrait of htm wa* sold at 
Christie's, on February 25, 1905* 

1753-1787 " 

in this manner that Beechey continued generally but 
not exclusively to paint until 1790, and in which, 
according to the writer in " The Cabinet of Modern 
Art/ 7 Sir Thomas Lawrence was of opinion that no 
modern painter had ever excelled him in this de- 
partment of his art, either for correctness of resem- 
blance, delicacy of execution, or grace of design and 

All the early catalogues of the Royal Academy 
possess a curious interest to-day, not only in connection 
with the artists whose names and works are now 
perfectly familiar to us, but also on account of the 
very large proportion of men who have long since sunk 
into hopeless oblivion artists whose names will be 
vainly sought for in Bryan, and probably also in The 
Gentleman's Magazine. It is doubtless a case of the 
survival of the fittest. But in spite of the forgotten 
exhibitors who figured in the Royal Academy of 1776, 
there were nevertheless many represented there who 
were destined to remain living realities in the records of 
English art. The President, Sir Joshua Reynolds 
overshadows all, both in greatness and in number, for 
his exhibits were thirteen, of which four were whole- 
lengths, the Duchess of Devonshire, Mrs. Lloyd 
inscribing her name on the bark of a tree, Lord 
Althorp in the style of Vandyke, and Owiah, whilst the 
smaller portraits included a half-length of Lord 
Temple, which Walpole described as "the finest 
portrait he ever painted," the well-known engraved 
portrait of Master Crewe as Henry VIIL, and the 


three-quarters of Garrick and the Duke of Devonshire. 
There were in all 330 exhibits by professional artists, 
and sixty-one " honorary exhibits." The exhibits were 
arranged alphabetically according to the artist's names, 
and turning over the pages of the rather shabby- 
looking catalogue we notice John Bacon, George 
Barrett, James Barry, F. Bartolozzi, Mary Benwell, 
J. Boydell, Sir George Chambers, Sir W. Chambers, 
Richard Cosway, S. Cotes, N. Dance, Geo. Engleheart, 
W. Hodges (of " Pimblico "), N. Hone, Angelica Kauff- 
mann, J. Meyer, Northcote, Nollekens and B. West, 
Gainsborough was unrepresented at this yearns exhibition, 
and Romney, who had only just taken Cotes\s house in 
'Cavendish Square after his long residence in Italy, and 
quickly became Reynolds's most serious rival, was not 
an exhibitor, in 1776 or at any other time at the 
Academy. The Academy of 1776 "proved more 
attractive than any of its predecessors, and px*oduced 
^"1248 16$. " as against the ;iooi 8& of that of 1775 
(Sandby's " History of the Royal Academy , w voL i. 
p. 152). 

We have given a few brief particulars of the Academy 
at which Beechey made his first appearance, and it will 
be interesting by way of comparison to look through 
the catalogue of the exhibition of 1837, the last but 
two at which he exhibited. The old order had indeed 
passed away giving place to the new. Sir Martin A, 
Shee was president, and Beechey's R.A. colleagues 
included such men as Callcott, Chalon, Sir Francis 
Chantrey, Etty, Landseer, Clarksoia Stanfield, J # M, W f 

JBtf permwsion <\f' Mrs, Afamlmul 


Turner, and David Wilkie. It was the last Academy 
at which Constable exhibited. The 361 exhibits of 
1776 had increased to 1289, and probably every one of 
Beechey^s fellow exhibitors of 1776 had long since been 
dead or ceased to exhibit. He was by many years the 
doyen of the exhibitors, although Robert Smirke (who 
was no longer exhibiting) began to exhibit one year, 
and was elected an associate of the Academy two years, 
before Beechey. Smirke and Beechey were two of the 
six surviving Academicians whose elections took place 
in the eighteenth century. It is interesting to note 
that Smirke was just one year older than Beechey, and 
survived him six years, dying in 1845, but as an 
exhibitor at the Royal Academy, Beechey preceded 
Smirke by just ten years. 

With such an extraordinary record, it is much to be 
regretted that Beechey has left us no souvenirs or 
reminiscences of his contemporaries. Very little is 
known of his personal traits, but we get just one or two 
outlines in Redgrave^s "Century of Painters'" (1866, 
vol. ii. p. 341) : " The gossip of art has left us little 
to tell of Beechey, but we learn that he was of the old 
school, who did not abstain from the thoughtless use of 
unmeaning oaths. Calling on Constable, the landscape 
painter, he addressed him, * Why, d n it Constable, 
what a d d fine picture you are making; but you 
look d d ill, and have got a d d bad cold.' " It is 
said that in his later years Beechey complained of the 
increasing sobriety and decreasing conviviality of both 
artists and patrons of art. At one of the annual 


dinners of the Academy he remarked that it u was 
confoundedly slow to what was the wont in his younger 
days, when the company did not separate until a duke 
and a painter were both put under the table from the 
effects of the bottle." But when Beechey first practised 
his art, the artist was generally regarded as a nondescript 
vagabond, chiefly fit to associate with strolling actors ; 
and his mourning for old times was only another way 
of admitting that in theory at least the artist had 
become a gentleman, or, at least, a respectable member 
of society. We get a few more particulars of a 
personal character from a sympathetic but short 
obituary notice which appeared in The Gentleman^ 
Magazine (1839, vol. i. pp. 432-3): "In stature he 
was rather below the middle size, and was always active 
on his limbs, even down to a very recent period, and 
his intellectual faculties were clear and healthy to the 
last; his temperament was somewhat warm, and his 
friendships lasting ; his disposition was very cheerful all 
through life, and this happy turn of mind, together 
with his inexhaustible treasury of anecdote, which he 
disclosed with a good deal of original humour, made 
his companionship very agreeable." "The leading 
features in Sir William Beechey's character," said the 
writer of The Times obituary notice, * 4 were a genuine 
simplicity of mind and manner, united with a frank- 
ness and cheerful urbanity which placed every one at 
their ease who approached him. His aimable disposi- 
tion never failed to have its influence in securing affec- 
tion or regard, while his high sense of honour arid 

1753-1787 i s 

uniform rectitude of principles commanded esteem and 
respect. His heart and his purse were ever open at the 
call of humanity, and, though frequently imposed upon, 
he never lost the kindly feeling and the liberal disposi- 
tion which prompted him at once tO commiserate and 
to succour, without the slightest regard to his own 
personal convenience. ... If posterity, in fact, 
should be able to appreciate his worth, as they will not 
fail to estimate his talent, he will live in the heart of 
every honest man to many a remote generation." 

There are many well-authenticated stories of Beechey's 
kindness to young artists. C. R. Leslie, in his " Auto- 
biographical Recollections " (vol. ii. p. 27) admits this, 
adding, however, that : " I received very little encour- 
agement from him, as he pointed out innumerable 
faults, and not one part on which I had succeeded. He 
looked principally at the portrait, as the other was not 
so much in his line of painting. Sir William is extremely 
open and candid, even to bluntness. He told me when 
I was coming away that whenever I wanted another set 
down he would be happy to accommodate me. I shall 
certainly call frequently on him, although I must 
confess I felt somewhat dispirited, yet I consider it very 
wholesome chastisement, and am certain that I shall 
benefit much by it." Allston, the American artist, told 
Leslie that he once showed a picture to Sir William, who 
said to him : " Sir, that is not flesh but mud ; it is as 
much mud as if you had taken it out of the kennel and 
painted your picture." Allston himself has left us 
some amusing anecdotes concerning the artists of his 


time, and one of these shows us Sir William Beechey 
criticising a young artist's picture: "Very well, C., 
very well indeed. You have improved, C. But, ., 
why did you make the coat and the background the 
same colour ? " " For harmony, sir," replied the youth. 
" Oh, no ! C., that's not harmony, that's monotony. ** 

From 1776 to 1782 Beechey was regularly hung at 
the Academy. His works were all anonymous portraits 
of ladies or gentlemen, whose names, with one excep- 
tion, have not been identified. In one case we have a 
" Conversation " piece ; in another a fancy picture of ** a 
lady in the character of Venus," illustrating a passage 
VirgiPs " J2nid." His exhibits appear to have attracted 
little or no notice from the critics of the day, such as they 
were, and the artist apparently himself felt that he was 
not making much headway. He had made the acquaint- 
ance of Reynolds, who was so pleased with some pictures 
from Beechey's pencil, " which he desired to have left 
in his painting-room, that he not only placed them over 
his chimney-piece, but spoke of them in the kindest 
terms of approbation, and directed the attention of his 
various sitters to their merits. 1 " (** Cabinet of Modern 
Art. 1 ') P. F. Seguier, in his " Dictionary of Painters," 
1870 (p. 14) observes: "Beechey ranks with the 
followers of Sir Joshua, his pictures have the general 
effects of Sir Joshua's portraits, especially if viewed 
from a little distance ; but on a closer inspection it 
will be found that the colouring is smoother and 
thinner. The hands, although well drawn, have con- 
siderably less impasto than Reynolds'^ but, like 

1753-1787 17 

Reynolds, he glazed his flesh tints ; we find in them a 
slight glaze of vermilion and brown pink, yet the whites 
and very light colours in different parts of his portraits 
are frequently left pure and untoned. Beechey's full- 
length portraits stand well, being easily and nicely 
outlined. . . . The landscape backgrounds of his 
portraits are nicely painted and usually toned with 
brown pink, asphaltum, or some such colour. An 
anecdote is told of Beechey, that on one occasion he 
had given too much tone or glaze to the foreground 
details of one of his portraits, so that the eye rested 
unpleasantly on the gilt sword-hilt in the portrait. 
On pointing out the grievance to Sir Joshua (who 
happened to come in at the moment). Sir Joshua took 
the palette from his friend, and introduced some un- 
toned or unbroken colour in the right corner of the 
portrait, the lightness or prominence of which immedi- 
diately drew the eye from the sword-hilt." 

During the first seven years of his career as an 
exhibitor at the Academy Beechey had six addresses in 
London. The first, as we have seen, was at Mr. Leader's; 
in 1777 he was living in Thomas Court, King Street, 
Golden Square ; during the next two years he was 
residing at No. i, Chapel Court, King Street, Golden 
Square ; in 1780 he was at No. 25, Cumberland Street, 
Middlesex Hospital ; in the following year his address 
is given as Dean Street, Soho ; and in 1782 as No. 12, 
Castle Street, Oxford Street. 

Beechey^ visit to Norwich could not have been an 
.accidental enterprise. We are told, indeed, that in 


1782 he was " invited to spend a month " in that city, 
where he " found himself in the immediate receipt of so 
many commissions in that town and neighbourhood that 
he was induced to take up his abode there altogether." 
Beechey's visit was well timed. Heins and Thomas 
Bard well, who had for many years enjoyed a monopoly 
in portrait painting in Norwich and surrounding dis- 
tricts, had been dead for some years ; examples of their 
portraiture are to be found still in many of the country 
houses in Norfolk, and several of each artist arc in St. 
Andre w^s Hall, Norwich. Very little is known concern- 
ing Beechey's stay in Norwich or of the portraits he 
painted there. Dawson Turner tells us that he fre- 
quently visited Yarmouth, " where he on one occasion 
resided for a twelvemonth " ; but in old directories he 
is described as " W. Beechey, portrait painter, 4, Market 
Place." and afterwards as "Limner at E, Leeds, 129, 
Pottergate Street."" (The Caian, Michaelmas, 1899, 
p. 21.) A diligent search through the files of the old 
Norwich newspapers and other records would doubtless 
reveal some interesting particulars concerning Beechey 
and his various works. There are four portraits of hi 
at St. Andrew's Hall, the famous one of Nelson, ** the 
last for which Nelson sat, 11 John Patteson (mayor in 
1788), John Staniforth Patteson (mayor in 1825), and 
Aobert Partridge (sheriff in 1780 and mayor in 1784) ; 
the last of these is the only one of the four painted by 
Beechey during his residence in Norwich : the artist 
was at the time living in the Market Place, "aa a 
medallion and portrait painter." According to 

National Portrait Gallery 

1753-1787 19 

Chamber's " History of the County of Norfolk," this 
portrait of Partridge was cc the first whole-length of the 
full size " which Beechey painted in Norwich. From the 
same authority also we learn that Michael Sharp was 
one of his pupils, from which it may be inferred that 
Beechey not only painted portraits but also gave lessons 
in painting in that city. 

Beechey exhibited nothing at the Royal Academy in 
1783 and 1784 ; but he broke fresh ground by sending 
three pictures from Norwich to the 1783 exhibition of 
old Society of Artists in London, and these were a Lady, 
whole length, a Gentleman, three-quarters, and a Family 
Group of small whole-lengths. We get a slight 
glimpse of his life at this period from an exceedingly 
interesting Note-Book, the property of Mr. Sydney 
Chancellor (whose wife is a granddaughter of the artist's 
son, Henry William Beechey). This Note-Book was 
begun on August 21, 1784, and was originally intended 
for " common occurences." The following is the first 
entry : " Sunday 22 went to Lexham with Mrs. Chafe 
(or Chase), Mrs. Holl and Miss Mary Christmas in a 
post-chaise from the * King's Head' ; arrived by two to 
dinner. Next day went to Raynham (to see Lord 
Townshend's pictures)* on horseback some very fine 
portraits of Van Dyck, and a picture of Bellisarius of 
Sal. Rosa ; the figure of Bellisarius appears rather like 
an actor than a real blind man. A blind man, for 
instance, would not open his arms in the attitude of 

* These pictures, or a considerable selection of them with the 
Salvator Rosa/ were sold at Christie's on March 5 and 7, 1904. 


making a soliloquy on human mutability and the vicis- 
situdes of time amongst surrounding ruins as though he 
either saw them, or was purposely led to the spot and 
told what objects were near him you would not judge 
him to be blind if you did not know it before. The 
composition is extremely good, the design admirable, the 
chiaroscuro striking, but not judiciously contrived, for 
the light leaves off too abruptly on the right thigh, and 
has a very disagreeable effect; the colouring is excel- 
lent. I returned to Norwich with Mrs. Holl and Miss 
Sally Christmas the same evening, arrived about 8* 
Supt with Chafe, Mr, Bacon, Mrs. B., Mrs. Holl and 
Miss Christmas." 

Then follow two memorandums : " October 25* Re- 
ceived letter from Mr. Ward, who is removed to 116 
Edgeware Road, Paddington ; " and ** Mr# f JS+ went to 
London last Tuesday was a month the 28th September, 
1784." The italicised words are crossed out* The 
next half-page is completely blocked out* and the leaf 
which followed is cut out of the book* The following 
interesting notes occupy the whole of the siext four 
pages : " Sold my picture of the Fortim Telkr to 
Mr. Hudson, No. 48 Great Russell Street, Bloomsbuiy, 
for 20 guineas, he gave me an order to paint him a com* 
panion, which I promised to do in 3 months/* 

" Saw my pictures in the Exhibitions which appeared 
in a good stile, and which I shall endeavour to improve* 
Maltby's looked rather flat for want of bolder 

* Aug. 6th went to do Mr. Cooper's at Yam* 1 , and 

1753-1787 21 

finished Mrs. Cooper's picture, which was approved 
of, and on the i ith went by Lord Orford's invitation 
to Houghton with Armstrong. Ld. Orford behaved 
very polite, and gave me an invitation to repeat my 
visit in 5 weeks, when Cipriani and Fuseli were to be 
there I staid 3 days, and returned to Norwich on the 

" Went to Ld. Orford's with Miles and Armstrong, 
where we meet with a very cordial reception from his 
lordship. Fuseli and Cipriani was there, who were 
extremely glad to see me, the latter seemM much recovered 
from his late severe loss of his only daughter, a young 
lady of about 16, who was very accomplish^, and as 
her mother died several years before, she was in conse- 
quence very dear to her Father. I called on him in 
May last in London, and not knowing she was lately 
dead, unfortunately enquired after her health, he calmly 
answered c she was very well.'' At dinner time Ld, 
Orford desired the artists to sit together that they 
might have an opportunity of discoursing on topicks 
relative to the arts ; the rest of the company consisted 
of aeronauts, and Balloon makers, namely, Major Money 
of Norwich, Mr. Blake, a young man in the sea service, 
Mr. Sheldon, the surgeon and lecturer, Mr. Thorne, a 
projector of trifles, a gentleman and his son from Lynn, 
Lord Walpole and his son the Colonel, Captain some- 
body who rescued the Major from a watery death, and 
Major Loyd, a gentleman of a mild and aimable dis- 
position, whose little drawings in bistre does him great 
credit, considered as the productions of a gentleman 


who never studied the depths of the art ; he has some 
good pictures which he wishes me to look at as the 
company consisted of such gentry, it is natural to 
suppose that their conversation would turn on nothing 
but what makes the best gas, what ingredients 
make the best balloon varnish, the comparison between 
Planchard [?] and some other aeronaut, etc, etc. etc., 
so that the idea of his lordship's putting the artists 
together was judicious, polite and charitable* 

" On my asking Fuseli what was doing in London, 
he told me the manufactory in Newman Street went on 
as usual, that Reynolds was daubing away, and Gains- 
borough was painting pigs and blackguards, Cipriani 
informed me that Fuseli had a total aversion to Barry 
and his works, and proposed a scheme to me of setting 
him completely up, as he termed it, and which was, 
that the next day as we were drawing together we 
should praise the pictures of Barry in the Aldelpfai. I 
began the attack by asking Fuseli how he liked Barry's 
pictures at the Academy; he said he did act know 
what to make of them, for as he did not understand 
Irish, he was unable to judge. On my asking him Jf 
the pictures in the Adelphi had not great merit, he 
said, certainly they had merit, but it was more trouble 
to find it than it was worth, it was a damnM Irish com- 
position, he had put doctor Burney up to the neck in 
the Thames playing with fat water nymphs.'" 

The visit to Lord Orford was in August 1785, for 
Cipriani died on December 14 of that year. Major 
Money was John Money (1752-1817) an army man* 


Ascribed to himself but probably by 11 Rotfiiwll, R H.A 
Jly permission ofAfis F. A. Hopkins 

I753-I7 8 ? *3 

and one of the earliest English aeronauts, who made 
two ascents in the year 1785. "Mr. Sheldon the 
surgeon " was doubtless John Sheldon (1752-1808) an 
anatomist who earned on a private anatomical school at 
Great Windmill Street from 1777 to 1788, and ia said to 
have been the first Englishman to make balloon ascents. 
Beechey himself tells in the foregoing excerpts that he 
was in London in May (1785) so that his reference to 
" the Exhibition * would mean the Royal Academy of 
that year, in which he had nine pictures. The " Maltby " 
portrait would have been one of these, and this portrait 
is doubtless that of George Maltby, father of the 
Bishop of Durham, now at the Durham University. 

From the fact that Beechey encouraged John Crome 
in his artistic aspirations, it has been assumed that the 
acquaintanceship between the two was first formed at 
Norwich, but this would not seem to have been the 
case. Dawson Turner, in his "Memoir" of Crome, 
1838, thus reports Beeehey^s recollections of the founder 
of the Norwich School of Painting : " Crome, when I first 
knew him, must have been twenty years old [he was 
born on December 22, 1768], and was a very awkward, 
uninformed country lad, but extremely shrewd in 
all his remarks upon art; though he wanted words 
and terms to express his meaning. As often as he 
came to town he never failed to call upon me, and to 
get what information I was able to give him upon the 
subject of that particular branch of art which he had 
made his study. His visits were very frequent, and all 
his time was spent in my painting-room, when I was not 


particularly engaged. He improved so rapidly that 
he delighted and astonished me. He always dined and 
spent his evenings with me." 

Beechey contributed, as already stated, nothing at 
the exhibitions of 1783 and 1784, and so he may bo 
presumed to have been profitably employed in painting 
the portraits of the local gentry and celebrities of 
Norfolk. To the Academy of 1785 he sent nine 
pictures, of which three were small whole lengths, two 
were three-quarters (i.e. 9 30 in. by 25 in,) and one a 
fancy subject, The Witch qfJElndor. To the exhibition 
of the following year he also sent nine pictures from 
Norwich, chiefly portraits, one being of Master Crotch 
"the celebrated musical genius," and three others being 
A Gipsy FortwM-TeUer 9 The Co/j;Vw, and "an alle- 
gorical picture painted for a society of United Friars in 
Norwich." The " United Friars," it may be mentioned, 
was a society founded on October 18, 1785, by Thomas 
Ransome of Gurne/s Bank, William Wilkins, the 
architect, W. Beechey, the artist, Edward Miles, the 
artist, Thomas Hall, Rishton Woodcock, and John 
Cooke, and held its meetings in a house in St. Martins* 

With regard to one of these pictures. The F<*rtun#~ 
Teller, Beechey would seem to have painted two works, 
with this title. The earlier was probably that sold at 
Christie's on March 19, 1898, " with the engraving " for 
a small sum; the canvas measured 21 in, by i6| in. 
On September i, 1792, John Young published an 
engraving in mezzotint of what must have been an 

important group by Beechey under the same title. 
The engraving is thus described by J. Chaloner Smith, 
"British Mezzotinto Portraits," No. 72: "Whole 
lengths, on right, gipsy woman with child on her back, 
holding open the palm of a young girl's hand, whose 
face is averted from her in fright, and who is supported 
by a boy on left, who encourages her, small spaniel in 
front, trees in background." This engraving is dedicated 
to her Grace the Duchess of Devonshire, and on it the 
Devonshire and Spencer arms are quartered together. 
Chaloner Smith points out that this engraving is a 
companion to Young's mezzotint of Hoppnerk The 
Show> which is dedicated to Lady Duncannon, and 
has the Bessborough and Spencer arms. "The 
ladies," he says, " to whom those prints are dedicated 
were sisters, and there is every probability that the 
pictures were portraits of them and their children." 
This theory is extremely feasible, but the group is 
neither at Chatsworth nor at any of the other residences 
of the Duke of Devonshire. The portraits would 
represent the beautiful Georgiana,andher two children 
the Marquess of Hartington (who was born in 1790, 
and his sister, Georgiana Dorothy (born 1783) afterwards 
Countess of Carlisle. 

On the other hand, and except for very powerful 
reasons, it is scarcely likely that Beechey would have 
omitted exhibiting such an important picture, which 
may be that of A Noblemarfs Family with a Dog> in 
the 1791 Academy. The absence of the picture from 
the Duke of Devonshire's collection is explained to 


some extent by the following entry in Beechey^s Note- 
Book : "Mr. Young (the engraver) No* 28 Newman 
Street, Oxford Street, London, bought the Gypsy of 
Hudson.' 1 

The year 1787 was in several ways an important one 
for Beechey. In the first place, he had apparently 
either got tired of Norwich or had pretty nearly 
exhausted it as a portrait-painting centre, and deter- 
mined to remove to the Metropolis. The removal to 
London was doubtless consonant to his own personal 
wishes, but it appears to have been accelerated ** by a 
lady of rank and fashion who held out to him such 
brilliant prospects of success and made him such 
splendid promises of patronage, that he was induced to 
rely so far upon them as to take a handsome house in 
Hill Street, Berkeley Square, in the contemplation of 
nothing short of immediate fame and fortune. The 
event, however, was far from equalling his anticipations ; 
the promises were wholly disregarded* and fortune, as 
fickle as his patroness, soon left him to struggle with the 
difficulties of an expensive establishment without any- 
thing like sufficient means to support it, 1 * ( 4 * Cabinet of 
Modern Art.") The statements in this extract can 
only be accurate in part, as Beechey did not take a 
house in Hill Street until 1789 or, at lea^t, until 
late in 1788 when all doubts as to his success were 
set at rest. In 1787 he resided temporarily at 10 
Charles Street, Covent Garden, removing at midsummer 
to 20 Lower Brook Street, Grosvenor Square, where he 
was living in 1788, In the exhibition of 1787 he wan 

Ily permuMOn oj K 0. Itaphael 

1753-1787 27 

represented by only one picture, a small whole length 
portrait. The reason of this solitary exhibit is explained 
by a statement which appeared in the Morning 
Chronicle of May 28, and as this was nothing less than 
a magnificent advertisement for the artist we do not 
hesitate to quote the paragraph, headed "Fifteen 
Portraits by Mr. Beechey," in full : " Why the Royal 
Academy should have rejected these beautiful perfor- 
mances we know not. But why they should have made 
their best acknowledgments to Mr. Beechey for such 
acquisitions is very obvious. Because we discover 
nothing (in that line of painting) in their miserable 
exhibition like them. We cannot help congratulating 
Mr. Beechey that what might have been of material 
injury and discouragement to him in his profession has 
turned out to him the most fortunate event possible, as 
we understand that in consequence of his exhibiting at 
the Lyceum, he has actually several hundred pounds 
worth of pictures bespoke.'' 1 These rejected pictures, or 
such of them as were not commissions, were sold by 
private treaty by Vandergucht (whose house in Brook 
Street, he had taken), and an advertisement to that 
effect was inserted in the Mornmg Chronicle. The 
pictures in question " were not admissible in the Royal 
Academy, from their occupying too much space,"" 
according to the writer in " Public Characters." But 
if Beechey himself was all but excluded from the 1787 
Academy, the lady, Miss Jessup, who about this time 
became his wife, was represented by five drawings 
(Nos. 462, 584, 596, 658 and 662). 


Much might be written concerning the early exhibi- 
tions of the Academy in which Beechey took part They 
were opened on or about April 24, and were closed at 
the latter part of May, thus remaining open for about 
a month. In 1786 the doors were opened on May i. 
The admission was one shilling, which entitled the 
visitor to a catalogue. Up to and including 1779, they 
were held in Pall Mall, and a view of the house, in 
which also James Christie for many years held his 
auctions, is given in Sandby^s "History of the Royal 
Academy" (vol. i. p. 125). Quarrels* personal and 
professional, were frequent among the members and 
exhibitors, but Beechey appears to have uniformly taken 
the wise part of holding aloof from these things* The 
exhibition of 1780 was held at Somerset House, and the 
increased accommodation was such that the receipts for 
admission amounted to ^3069 is., an increase of 1700 
over the preceding year. This was the last year in which it 
was necessary to grant the Academy pecuniary aid from 
the Privy Purse, from which, between 1769 and 1780* a 
sum of upwards of ^5000 was generously given* In 1781 
there was a serious defection on the part of many who 
had supported the annual exhibitions* Cipriani, Copley, 
Dance, Pine, Humphry, Peters, Wilson* Ix>utherboui^t, 
Wheatley, Bartolozzi, and Miss Moser, were not repre- 
sented, and, according to one of the newspapers of the 
period, "not ab'ove 16 R.A.s have exhibited thi year, 
which is not one-half of that body.*" The reason is not 
given, but it is suggested that ** perhaps they may 
think their reputation sufficiently established : one of our 

great portrait painters (Rornney) never exhibits at all 
on that presumption." 

Beechey"^ great friend among the Royal Academicians 
was Paul Sandby, one of the Foundation Members. 
Sandby imparted to him " advice in all matters relative 
to his profession, and encouraged and protected him wi 
and out of the Academy, watching his interest on every 
occasion with the affectionate zeal of a parent ; indeed. 
Sir William so considers him, and hardly ever mentions 
him, either in public or private company, but by the 
name of his * father Sandby * ! " Beechey^s portrait of 
Paul Sandby, exhibited at the Royal Academy of 1789, 
No. 241, was engraved by S. W. Reynolds in 1794. 

It was, as we have seen, at Norwich that he began " to 
paint as large as life." " Among the rest " (according to 
the Monthly Mirror) " a portrait of the beautiful Miss 
Ives (now Mrs. Bosanquet) added considerably to his 
reputation and produced some complimentary verses of 
no ordinary merit in the Norwich newspaper." This may 
have been the " portrait of a lady, half-length," exhibited 
in 1786, No. 200 ; the Miss Ives was Charlotte Elizabeth, 
who married in 1787 William Bosanquet, the London 
banker. Beechey's portraits of her father (a member of 
an eminent Norwich family) and mother were in the 
Royal Academy of 1788. 



ALTHOUGH Beechey had been at least "numerously" 
represented in the Academy exhibitions of 1785 and 
1786 he had nine pictures in each it was not until 
the exhibition of 1788 that he was adequately repre- 
sented by portraits of which the identity excited the 
curiosity of the public. It may be mentioned that up 
to and including 1797 portraits were nearly always 
anonymous, that is to say, they appeared in the cata- 
logue as portraits of A Lack/^ A Lady ($f TUfa^ A 
Gentleman, A Nobleman^ An Ariwt^ or some such 
designation. Until this exceedingly foolish species 
of nomenclature was discarded, some of the news- 
papers made a special feature of publishing, on the 
opening of the Academy^ a list of the portraits 
with the Academy Catalogue numbers and the 
names. It is only by this means that the identity 
of many of the portraits hung at the first twenty- 
eight Academies can be ascertained. The compilers 
of these lists would probably not have troubled them- 
selves to asceitain the identities of portraits by an 
unknown artist. Of the six portraits (besides three 
fancy subjects) which Beechey sent to the 

7Vf>wt Hie onyinul 

1788-1797 3i 

the identities of five have been recovered. Besides the 
portraits of Mr, Jeremy Ives, of Norwich, and his wife, 
(respectively numbers 215 and 188) already mentioned, 
we have Captain Boyce* as " an officer in an outpost 
in America " (185), a Mr. Kobinson (416), an " an 
artist," who proves to be Dominic Serres the marine 
painter (1722-1793), one of the original members 
of the Royal Academy, of which he was Librarian in 

The most interesting of the fancy subjects was, in 
one respect at least. Number 242, Iris, by command of 
Juno, requests Somnus the God of Sleep to setid a Dream 
to Alcyone, based on a passage in Dryden's "Fables." 
This picture is said to have been the first work painted 
by the artist on his arrival in London. The catalogue 
of the Beechey sale at ChristieX June n, 1836, describes 
it as " a charming composition, full of poetical feeling." 
It was bought in at that sale for fourteen guineas. 
Lavinia returning from Gleaming (No. 54) and Donna 
Mencia recovering from a swoon discovers the horror of 
her Situation, based on well-known passages in Thom- 

* This portrait remained in possession of the family until March 14, 
1891, when it was sold at Christie's for a very small sum. On the 
same occasion a portrait of Master H. Boyce, a son of Captain 
(afterwards Lieuteuant-Colonel) William Boyce, was purchased by 
Messrs. Agnew, and is now in the collection formed by the late Sir 
Charles Tennant, who also owns the portrait of Captain Boyce, who, 
it may be added was appointed to a Captaincy in the Sixteenth or 
the Queen's Regiment of Light Dragoons, September 28, 1781. 
The portrait of Master Boyce has been recently engraved, and is 
illustrated in the privately printed Catalogue of Sir Charles 
Tennant's pictures. 


son's " Seasons" and u Gil Bias" respectively were the 
other two fancy pictures of the year. 

Beechey's first really great and successful Academy 
was that of 1789, to which he contributed seven 
portraits, two of which were of ladies whose names have 
not come down to us. " The first picture of the size 
of life that brought Mr. Beechey into notice wa# a 
portrait of Charles Herbert, Brother of l*ord Carnar- 
von" ("Cabinet of Modern Art,** p. too), and this 
figured as No, 141, Portrait of a Gentleman in the 
Academy under notice. He was introduced to Herbert 
by his friend Sandby, the 4C portrait of Herbert was 
greatly admired by the fashionable world* and procured 
him a sitting from the la$t Duke of Montagu, a noble- 
man who honoured our artist with singular marks of 
kindness and attention " {MowtMy Mirror). Beechey*** 
Account-Book for the year 1789, fa* as will be seen 
further on, the earliest which has been so far dis- 
covered; but a mere glance over the list there set 
forth will show an amaring disproportion between it and 
the number of exhibited pictures. In this year he 
painted forty-nine pictures as against the seven which 
were sent to the Academy^and during the two following 
years he painted ninety-six portraits of which only 
twenty-five appeared at the Academy. Nearly the same 
proportion would probably have been maintained 
during the ensuing seasons* 

The friendship with Herbert was both lasting and 
profitable. As will be seen from the entries* in the 
chapter dealing with Beechey's sitters and their pay- 

1788-1797 33 

ments, the artist painted nine portraits of members of 
the Herbert family in 1789-90. In addition to the 
portrait of Charles Herbert already mentioned, Beechey 
painted another in 1799. He likewise did one of the 
Rev. Caroline Robert Herbert (so-called after Queen 
Caroline), brother of his patron, in 1791, and another 
of his sister Georgina in 1793. These three portraits 
remained in the collection of the late Sir Robert 
G. W. Herbert, G.C.B., of Ickleton, until July 
1905, and were all on canvas 30 x 25. We have 
only seen one of the three portraits, viz., that of 
Georgina Herbert, a work of admirable quality, 
showing her at the age of forty-six, a half-figure, 
directed to right, head slightly turned and looking at 
spectator nearly full face, fresh complexion, hazel 
eyes, powdered hair, draped in black cloak, white fichu, 
large black hat with lace "curtain" trimmings, and 
wearing brown muff. This charming work is now in 
the collection of the Rev. Thomas Crawford, B.D., of 
Bolnacraig, Perth, and is reproduced in here by his 
permission. Another version of this picture, inscribed 
" Georgiana Herbert, aim. aet. suae 46," and dated 
1793, belongs to the Earl of Ducie and is at Tort- 
worth Court. 

Beechey had now removed to Hill Street, Berkeley 
Square, and his commissions were rapidly increasing in 
number. His exhibits this year (1789) included those of 
two artists both probably done con amore Paul 
Sandby already mentioned, and Richard Cooper, Douglas, 
Bishop of Carlisle, and a "Naval Officer. 1 ' Richard 


Cooper who was said to have been bom about 1740 and 
who died about 1814 was the son and namesake of an 
artist who settled in Edinburgh ; the younger Cooper 
was a painter and engraver, and studied in Paris under 
J. P. Le Bas ; he exhibited at the Royal Academy from 
1778 to 1809, was drawing master at Kton and a friend 
of Beechey^s. He spent some time at Penmnce with 
Cuthbert Baines (great-grandfather of the present 
owners of the three Cooper portraits). Richard Cooper 
was probably born in Edinburgh, and until rH88 his 
descendants possessed some houses off the Canongate, 
"Cooper's Entry,* which had belonged to CoopcrVt 
father or grandfather* That of J/r, Cooper** Jfton 
(exhibited at the Academy 1792), Ramuay Cooper, 
now belongs to Mr. J. A* Baines, of Kidlington, Oxon, 
and is a whole-length of a boy in a picturesque walking- 
dress ; Beechey is reported to have said later in life 
that this portrait was the best he had done. One of 
these two works was painted at Eltham or Shooter** 
Hill, where the Coopers lived for a time. Mr. Bairn* 1 
second portrait is of Margaret Cooper, wife of Kichard. 
The portrait of Richard Cooper now belong* to 
Mr. Barnes's sister. The Mr. and Mrs. Cooper 
mentioned in the extract on p* 21 from Beechey'ft 
Account-Book may have been Richard Cooper and IIIH 

In 1790 Beecheyfe works began to attract the notice 
of the newspaper critics* and one of them went MO far 
as to admit that ** Mr. Beechey has some very fine 
portraits (in the Academy) in which his exquisite taste 


Ry permiMion (}t W. Younger^ E&q 

1788-179? 35 

for colouring is finely displayed." This year's exhibi- 
tion was marked as some of the others had been, by 
quarrels among the members, and its opening was 
delayed a week in consequence. Later on in the year 
fresh dissension broke out, and Sir Joshua Reynolds 
" irrevocably determined to resign/ 1 * In spite of the 
support of the King, who " particularly " desired that 
young Lawrence u should be elected," the result of the 
voting was : Wheatley sixteen votes, Lawrence three. 
This was not the first time that a candidate backed by 
Sir Joshua had been rejected, and the amiable autocrat 
of the Academy was naturally very indignant. The 
election was peculiarly obnoxious to Reynolds for 
Wheatley's "moral conduct had offended decency. " 
The rejection of the favourite of the King and the 
President would doubtless have blown over, in the 
usual course of things, but such a splendid opportunity 
for the exercise of his caustic wit was too good to be 
lost by Peter Pindar (John Wolcott), and he trans- 
formed a parochial event into a national affair. 
Nothing gave this satirist greater pleasure than to 
pour ridicule on officialism, and his vigorous satires 
enjoyed an enormous vogue. There was nothing 
delicate or refined about his references : he preferred 
the bludgeon to the rapier, and the incident under 
notice brought forth from him a series of cleverly- 
turned verses under the title of " The Right of Kings, 
or Loyal Odes to Disloyal Academicians," from which 
we cannot resist quoting two : 


Yet opposition-fraught to royal wishes, 
Quite counter to a gracious king's commands, 

Behold ! th' Academicians, those strange fishes, 
For Wheatley lifted their unhallowed hands. 

So then, those fellows have not learnt to crawl, 
To play the spaniel, lick the foot, and fawn 

Oh, be their bones by tigers broken all ! 
Pleas'd, by wild horses could I see them drawn. 

Wheatley was elected R,A. on February 10, 
and on November 10 of the same year Lawranx* waft 
elected an Associate, ** at an earlier age than any artist 
before or since,* (D, E. Williams, "The Life of Sir 
Thomas Lawrence," 1831* vol. L p. 115*) 

We have dwelt at some considerable length on this 
episode, because Lawrence's appearance in the arana is 
important in connection with the career of Beechey. 
Although as yet Lawrence was too young to he a 
serious rival to Beechey* there can be no <|ucaticm that 
the latter's career wa$ after a time largely eclipsed by 
the younger man* For many yearn Lawrence an a 
portrait painter largely overshadowed all hi rival*, far 
more so indeed than had Reynolds. Lawrence fimt 
began to exhibit at the Academy in 1787, when he had 
seven works hung; in 1788 he had m'x, in 1780 he had 
thirteen, of which one was a portrait of thu Duke of 
York, and in 1790 his position as a portrait painter was 
confirmed officially by portraits of the Queen and 
Princess Amelia, by the beautiful portrait, now the 
property of Mr. J. Pierpont Morgan, of the 

1788-179? 37 

Miss Farren (Countess of Derby), so well-known through 
engraving, and by nine others, groups and single 
portraits. Beechey also had never been more strongly 
represented than at the 1790 Academy, for his nine 
pictures included portraits of Lord Haddo (not 
" Hams " as appears in Mr. Graves's " Royal Academy 
Exhibitors "), the Earl of Aberdeen's eldest son George, 
he was born in January 1764 and died in October 1791 
during the lifetime of his father ; Lord Macartney the 
distinguished diplomatist and colonial governor created 
Baron Macartney in 1776 (1737-1806); Lord Morton 
(George I7th Earl), in the dress of the Scottish Society 
of Archers (it was through Lord Morton's influence 
that Beechey was subsequently appointed Portrait 
Painter to the Queen) ; the Duke of Montagu ; Lord 
Stopford (eldest son of the 2nd Earl of Courtown), 
and Lord Dalkeith (eldest son of the 3rd Duke of 
Buccleuch and afterwards 4th Duke), in addition to 
a portrait of a young nobleman whose identity has not 
been ascertained ; he also exhibited a portrait of him- 
self, doubtless that which was subsequently engraved 
for the Monthly Mirror. The Academy of 1790 has 
another interest inasmuch as it was the last at which 
Sir Joshua Reynolds exhibited, his works including his 
own portrait, a whole length of Mrs. Billington as St. 
Cecilia, and portraits of Lord Cholmondeley, Lord 
Rawdon, and Sir John Leicester : the first is described 
by Walpole as "very good," and the last as "very 
bad." Reynolds died on February 23, 1792, and was 
only unrepresented during his lifetime at one of the 


twenty-three exhibitions held since the first one in 1769. 
Eighteen of the original members of the Moyal 
Academy had preceded the President to the grave, and 
twenty-five new members had been elected during his 
term of office. 

Concurrently with the opening of thin yearV Academy 
there was published (May i, 1790), one of the earliest 
renderings of a picture by Beechoy in mezzotint Thin 
had been exhibited at Liverpool in 1787, No. 3, with the 
title of Rosalie a/nd Lubin ; the engra\ 4 er was Thomas 
Park, and the size of the engraving 20 in. by 23! in. 
The picture is of an extensive landscape with trees and 
sheep, in the foreground a river with the drowning 
figure of Lubin, and on the banka in the terror- 
stricken figure of Rosalie, who is bending forward on 
the brink of the river; to it were appended the 
following lines : 

When as at eve beside a brook, 

Where stray'd their flocks, they sat and smil'd, 
One luckless lamb the current took* 

'Twas Rosalie's, she started wild, 
" Run Lubin, run my fav'rite lave/' 

Too fatally the youth obeyed, 
He ran, he plung'd into the wave 

To give the little wand'rer aid, 
But scarce he guides him to the shore, 

When faint and sunk poor Lubin dies. 

In point of numbers, Beechey was well in evidence in 

the 1791 exhibition he had nine pictures hung an 
against eleven by Lawrence. Several were of titled 

1788-1797 39 

people, although the name of only one has been 
recovered, No. 269, Lord Frederick Montagu ; another 
was a portrait of Robert Wilmot, Esq., and a third was 
a canvas containing portraits of Mr. Oddie's * family. 
These are the only three which have been identified. 
There were also portraits of A Lady of Quality, of 
A Noblematfs Family with a Dog (referred to on p. 15) 
and A Gentlemarfs Family with a Dog. To the 
Academy of the succeeding year (1792) when the 
exhibits had increased from 703 of the previous season 
to 780, Beechey sent nine portraits, two of which 
represented Lord and Lady Herbert, whilst the others 
were of Mr. Meux, doubtless the brewer. Captain 
Montgomery, Mr. Coopers son (Ramsay Cooper, already 
referred to on p. 34), Mr. Greenwood, and Thomas 
Sandby, the architect and clever draughtsman, brother 

* There has hitherto been some doubt about the correctness of the 
name of this family. " Addie ' ' is that found in contemporary 
records. But an entry in Beechey 's Account Book under date 1789, 
4i Mr. Oddie's family ^84," dispenses with any further doubt in the 
matter. The sitters were the children of Henry Hoyle Oddie, a 
solicitor, of Carey Street, London, and Barnwell Castle, Northamp- 
tonshire (where he died in 1830, eighty-seven years of age). A 
miniature of him by J. D. Engleheart, was exhibited at the Royal 
Academy, 1821 (No. 685). The Beechey group was engraved in 
mezzotint by Thomas Park ; it must have been a very charming 
one, judging from the engraving, and is thus described by Chaloner 
Smith : " Whole lengths, towards left a young lad standing, directed 
towards right, drawing back arrow and string of bow, hat and two 
arrows lying on the ground before him, to left a little girl holding 
his coat, and looking in the direction in which the arrow is about to 
fly ; a younger girl lying on ground behind him, looking to front , 
towards right an older girl, standing, directed and looking to right, 
landscape in distance. " We have failed to trace the original. 


of the morefamous Paul Sandby. The port rait of Thomas 
Sandby was thus described in a newspaper criticism 
(Mr. Humphry Ward's " Collection of Cuttings*) 
of the time: "The best in the room, in our minds, for 
the true simplicity of the aii, the sober and unaffected 
style which attracts and satisfies more than the tinselled 
glittering of the French School, is the portrait of Mr. 
Sandby." The same critic further remarks of this year's 
exhibition : ** Mr, Beechey and Mr* Hoppner have the 
evident superiority in portraits. Mr, Lawrence has 
just rescued himself from the attack upon majesty, by 
an exquisite portrait of a lady " (probably that of Mm. 
Charles Locke), 

Beechey had only four portraits in the succeeding 
Academy (1793), which was the first held under the 
presidency of Benjamin Went. l*awraice who wa now 
an Associate, had nine, including one of H.K.I I. the 
Duke of Clarence* The identities of three <if BcnscheyV 
works have been obtained : These were a group of u Sir 
J. Ford's " children, catalogued as Portrait* <jf Children 
Relieving a Beggar Boy, this picture was engraved in 
stipple (18 in. by 15 in.) by C. Wilkin, with the legend : 
" 'Here Poor Boy without a Hat, take this Ha'penny/ 
it was published by W* Beeehey, No, 8 George Street, 
Hanover Square,'* and a dedicated by permimon to Her 
Majesty the Queen;' by the artist. It is a composition 
of three whole-length figures in a landscape and under 
a tree, on right little boy in dark dress and hat with 
feathers, and little girl in white with white hat, the 
latter holds out a coin in her right faaad to beggar*lad 


Dahnch flatter it 

1788-1797 4 1 

on left, he is in tatters, shoeless and stockingless, and 
hatless, holding stick under right arm, and a toy dog in 
the foreground. It was praised by all the critics, one 
of whom however pointed out that : " Beechey's picture 
of the Beggar Boy, to justify the shivering and starved 
appearance, should have had the scene Winter not 
Summer. Many of the parts, however, are fine ; and he 
is much improved of late." The name "Sir J. Forde," 
given in the newspapers of the time as the father of the 
children, is clearly an error for Sir Francis Ford, the 
first baronet (he was so created February 22, 1793) and 
M. P., the boy in the picture was doubtless his eldest son 
(born in February 1787) afterwards second baronet. 

The other portraits respectively represented Colonel 
Barry and Mrs. Burch. The former, according to the 
Army List of this year, must have been Lieut. -Col. 
Henry Barry, of the 39th (or the East Middlesex) 
Regiment of Foot, to which he was appointed May 28, 
1790; and the latter was probably the wife of I. R. 
Burch, of 9 Chesterfield Street, London. 

It was probably this year in which Beechey experi- 
enced a rebuff on the part of the Hanging Committee 
referred to by George Dawe in his "Life of George 
Morland" (1804) : tc The portrait of a nobleman painted 
by him (Beechey), being returned by the Hanging 
Committee of the Royal Academy, so incensed the 
peer, that he had the picture sent on to Buckingham 
Palace to be inspected by the King and the Royal 
Family, who all, in consequence, became sitters to the 
painter. This was the commencement of his fortunes " 


(quoted by Redgrave, " A Century of Painters," 1 * vol. I. 
p. 338). Further, Dawes goes so far as to say : 
"Beechey may justly be considered the only original 
painter we have, all the rest being more or kss the 
imitators of Sir Joshua." Beechey's growing reputation 
was at length recognised by the Academy authorities, 
and in 1793 he was elected an Associate. According to 
the writer of the obituary notice in the GcHtleman\t 
Magazine (April 1839, P* 433) ** * n *^e ** ame year 
(1793) he painted a whole length portrait of Queen 
Charlotte, who honoured him by the appointment of 
Her Majesty's Portrait Painter/" 1 Thin portrait was 
not exhibited until 2:797, and, "notwithstanding its 
disfigurement by the frightful costume of the time (a 
disadvantage which has marred the beauty of some of 
Sir W. Beechey's pictures) is a remarkably line work of 
art " (" Cabinet of Modern Art,* p. 100). This portrait 
was apparently done as a * 4 speculation*" HH it does not 
appear to be in the Koyal collection, arid was not 
exhibited at the Guelph Exhibition in 1891, when the 
late Queen lent a number of Beechey\i portraits of 
Queen Charlotte's children, which had also appeared at 
the Academy of 1797. The portrait indeed would 
seem to have lain on Beeehey's hands, for at his sale at 
Christie's rooms on June xx, 1836, when it was described 
as " the original engraved picture," it was bought in at 
60 guineas and at the Beechey sale at RainyX on 
July 19, 1839, the same portrait was u passed*" The 
background of the portrait was formed by a view of the 
gardens at Frogmore. The portrait of the QuJki which 

1788-179? 43 

we are permitted to reproduce here is probably a 
version of the picture in question. The bust of this 
portrait of the Queen was frequently engraved : by 
Bartolozzi in 1799^ with elaborate decorations as 
" Patroness of Botany and the Fine Arts," by M. A. 
Bourlier in 1806 and for CadelFs "British Gallery of 
Contemporary Portraits,'' 1 1809. It must have been a 
good portrait, for it met with the approval of Anthony 
Pasquin (John Williams) one of the most caustic art 
critics of the day, and an enemy of mankind generally. 
In his " Critical Guide to the Present Exhibition at the 
Royal Academy fdr 1797," Pasquin says: "This is a 
very forcible likeness of the Queen, and very reputable 
to its author ; the figure is well drawn, and the colour- 
ing is like the object it represents, calm, harmonious 
and correct. The pretensions of Mr. Beechey to hold 
a high rank in this department of his profession, are so 
legal and uncontradicted, that we should be amazed at 
his not being an R. A., if we were less acquainted with 
Hie cabals and meannesses and personal pique which 
distract and disgrace the measures of this regal institu- 
tion " (p. 10). 

At the opening of the 1794 Academy Beechey ranked 
not only as an Associate, but as the Portrait Painter to 
Her Majesty. Lawrence was "R.A. elect" and 
Principal Painter in Ordinary to Her Majesty. 
Hoppner was an A.RA. and Portrait Painter to 
the Prince of Wales. Into the comparative merits of 
these three men we do not propose to enter, but between 
them they very largely monopolised the fashionable 


portrait painting of the day. Reynolds and Gains- 
borough were gone; Romney was in failing health^ and 
no longer able to work with the incessant application of 
a few yeai*s previously. Opie, it is true, was in the full 
enjoyment of his powers; Martin A. Shee was making 
considerable headway as a portrait painter ; but beyond 
these the exponents of portrait painting were very 
second-rate indeed. Pasquin went so far as to say, in 
his notice of the 1794 Academy, that **we have but 
three decided portrait painters in the kingdom, which are: 
Romney, Shee and Beeehey ; the rest aix diseased with 
all Sir Joshua Reynolds^ worst habits.** In point of 
number, Beeehey was well represented in the 1794 
Academy;* he had eight portraits and one fancy 
picture. The portraits were Lady Arclen (*>., Margaret, 
eldest daughter of Sir Thomas Spencer Wilson, who 
married in 1787 Charles George Baron Arden, and died 
May 20, 1851 ; her second son became sixth Earl of 
Egmont in 1841), Lord Tracy (who died in 1797* when 
the title became extinct); Dr- Symonds; Mr, Wallis; the 
Bishop of Norwich (Dr, Charles Manners-Satton, 1755- 
1828, brother of the first Baron Manners, afterwards, in 
1805, Archbishop of Canterbury, the active Church 
revivalist) ; Dr. Strachey> who has already been 
mentioned (John Strachey, 1738-1818, Archdeacon of 
Suffolk, and Chaplain in Ordinary to George IIL, his 
elder brother, Henry, was created a Baronet in 1801) ; 

* Owing largely to the war mth France, and the unsettled state 
of affairs generally , this year's exhibition contained only 670 numbers 
against 856 of the previous year* 

1 78 8-1,797 45 

and portraits of two gentlemen whose names have not 
come down to us. 

The fancy picture represented Mrs. Siddons with the 
Emblems of Tragedy, in which Beechey would appear to 
have at once challenged Sir Joshua^s famous masterpiece. 
The inevitable comparison was unfortunate for Beechey, 
assuming that it was ever in his mind to challenge Sir 
Joshua's supremacy. "Mr. Beechey, the artist, has 
finished a portrait of Mrs. Siddons in the character of 
Lady Macbeth in the dagger scene : Mr. Kemble is intro- 
duced in the same picture in the portrait of Macbeth." 
From a newspaper cutting in Messrs. Colnaghi's 
possession, we gather that Beechey's Mrs. Siddons 
was a failure; even his greatest advocate, Pasquin, 
condemned it : " The figure * (he says) " is not accu- 
rately designed, and the attitude is affectedly disgusting. 
It conveys the semblance of a gypsy in sattin, disporting 
at a masquerade, rather than the murder-loving Melpo- 
mene. As a portrait the figure is too thin for the 
original, and as a picture it is too imperfect to be valuable 
to a connoiseur." The same candid critic goes on to 
say : " Mr. Beechey has this year most unaccountably 
fallen off from himself. His pictures are neither so 
rich, so graceful, or so true as they weie the last year. 
He has suffered Mr. Hoppner to supersede him, which is 
a sufference that took place while his genius was tipsy 
and his enemies vigilant." The picture of Mrs. Siddons 
was distinctly " damned,"" and it remained in the artist's 
possession. At his sale at Christie's on June n, 1836, 
it was bought in at sixty guineas, and at the sale at 


Rainy's, after his death, July 19, 1839, it was passed/ 1 
The portrait of Mrs. Siddons, it may be mentioned, 
was a whole length, and " although admirably painted " 
(says the writer of the biography of Beechey in the 
"Cabinet of Modern Art"'), "the style of the head- 
dress and the hideous costume of the time deprive it of 
much of its value as a picture." There is, however, 
another Beechey portrait of the great actress now in the 
National Portrait Gallery (canvas, 29! in. by 24! in.) to 
which it was presented by Delane, the editor of The 
Times, in 1858 ; it was at one time the property of her 
nephew, Horace Twiss, and is said to have been 
"painted about 1798." It may, however, be the 
finished study for the whole-length portrait exhibited in 

The "Dr. Symons" should read "Symmons," the 
personage being Charles Symmons (1749-1826), a well- 
known man of letters, the biographer of Milton and 
Shakespeare., the translator of the /Eneid ; a minor 
poet and a strong Whig in politics ; he was rector of 
Narberth and Lampeter* The portrait, which Pasquin 
pronounced "fair, clear and unsophisticated,* was 
described in one of the papers of the day an of "a 
clergyman in his academical dress," and was engraved as 
a private plate by Grave. Symmons married in 779 
Elizabeth, daughter of John Foley and sister of Sir J. 
Foley ; the Foleys of whom Beechey exhibited portraits 
in 1795 and 1800 were doubtless of the same family* 
The u Mrs. Symonds and Family * of 1803 may have been 
the wife and children of the above Charles Summons. In 


Xy permutu 

1788-1797 47 

1794 Beechey removed from Hill Street to No. 8 George 
Street, Hanover Square, where he continued to reside 
until 1836, and in the occupation of which he was 
followed by Thomas Phillips, R.A. 

Beechey had eleven pictures in the Academy of 1795, 
of which ten were portraits; all with one exception 
have been identified. One of the best of these was a 
portrait of Miss de Vismes (No. 70) in a straw hat, and 
described as " remarkable for ease and elegance. n<) This 
lady may have been a daughter of Gerard de Vismes, of 
Grosvenor Square, whose country residence was Wimble- 
don Lodge, u a new and elegant house/' which he built, 
having for neighbours the Right Hon. Henry Dundas, 
John Home Tooke, and other celebrities. There was 
also a portrait of Mrs. Meux, Jr., without doubt Eliza, 
daughter of Henry Roxby, of Claphain Rise, who 
married, June 28, 1792, Richard Meux, elder brother of 
Henry Meux, first baronet, and probably sister of the 
Miss Roxby of the 1796 Academy. No. 45, Portrait of 
a Gentleman, was Thomas Le Mesurier, who matricu- 
lated at New College, Oxford, in June 1774, M. A. 1782? 
B.D. 1813, and became rector of Newton Longueville, 
Bucks, and of Haughton-le-Skerne, 1812, where he 
remained until his death in July 1822. This portrait, of 
which a private plate was engraved in stipple by Edward 
Finden, shows him to three-quarter length, seated in an 
arm-chair, looking slightly to right, in dark coat and 
vest, with ample white neckerchief tied into a bow, 
index finger of left hand in a partly opened volume. 
The portrait is the property of his great grandson, Mr. A. 


S. Le Mesurier. No. no. Portrait of an Admiral^ re- 
presented Admiral Sir Thomas Pasley, 1734-1808, and 
the mezzotint engraving by Charles Townley, published 
in September 1795? shows this officer to three-quarter 
length, standing, directed to left, in uniform, right hand 
on flag on block to left, left hand resting on hip beside 
hilt of sword. 

The others included Mr. Foley (probably the Hon. 
Andrew Foley, M.P,),son of the first Baron Poky (who 
was residing at this time at 52 Park Street* Grosvcnor 
Square, and died on July 28, 1818) ; of MIHS Watson ; of 
Lady Caroline Campbell ? of Major-General A lured Clarke, 
the distinguished officer who became Field Marshal in 
1830, and died in 1832, and of Mr, Hodges, who was 
probably William Hodges the artist, 

Beechey also had eleven exhibits in the Academy of 
1796 (which comprised 885 numbers as against 735 of 
the previous season), every one of which has been 
identified : they were Miss Roscby ; Sir Phillip Stephens 
(1725-1809), the Secretary of the Admiralty* a KR,S. 
and M.P. for Sandwich 1768-1806 (perhaps the u Mr. 
Stephens, Admiralty," whose name appears in the 1789 
list of Beechey pictures, and who was created a baronet 
in 1795) ; Miss Hadfield * (this picture is undoubtedly 
identical with the very fine whole-length portrait known 
as Mrs. Hatfield, the property of Lord Burton) ; Lady 
Young ; a lady from the East Indies* Mrs. Johnson ; 

* This lady was probably Amelia Caroline, daughter of General 
White, and wife of Joseph Hadfield, Esq., of Broad Street, London, 
a merchant to whom she was married at Low Laytoo, 
June 16, 1795. 

1788-1797 49 

Lady Rous (ne Charlotte Maria Whittaker), second 
wife of Sir John Rous, sixth baronet, created Baron 
Rous on May 28, 1796, and Earl of Stradbroke 
in July 1821 ; two officers, probably father and 
son. Captain Earle and Captain W. Earle that of 
the latter may be identical with the portrait of William 
Earle, eldest son of Giles Earle, Esq. (the property of 
the Hon. Payan Dawnay, of Beninborough Hall, Yorks), 
which was sold for a small sum at Christie's on Decem- 
ber 3, 1892 ; a Mr. Makepeace (possibly John Make- 
peace, Esq., of 4 Gray's Inn Square) ; Beechey^s old 
friend and fellow student at the Royal Academy Schools, 
John Banister, Jr., who gave up art for the stage ; and 
a portrait of Mr. Meux, possibly the son of the Mr. 
Meux whose portrait was in the Academy of 1792 i.e.> 
Henry Meux, who was created a baronet in 1831. The 
picture of Lady Young, wife of Sir William Young, is 
described by Anthony Pasquin as " an admirable full- 
length, and is one of the best pictures in the exhibition.' 1 
That of " The Younger Banister " is admitted by the 
same authority to be a " delicate impressive likeness, 
whatever that may mean, and " is the best male portrait, 
in oils, in the present exhibition : why the hangmen have 
placed it in the ante-room we cannot devise, unless it 
arose from an aristocratic unwillingness to permit the 
subject to associate with what is termed the best com- 
pany." In some general remarks on the exhibition the 
same writer says : " In this exhibition we have three 
Portrait Painters who deserve particular notice, but not 
in the same degree: the Academy has not now a 


Reynolds, whose genius in this branch of the art 
towered far above any thing now in existence: but if 
the Portrait Painters of the present day be brought 
before the tribunal of fair criticism, and tried by the 
evidence before it via., their works* exhibited in the 
collection at Somerset House the pre-eminence cannot 
be denied to BEECHEY : LAWRENCE follows him ; 
and then, magpio intervallo^ HOPPNER And HAMIL- 
TON " ; and, further, that u nothing but the grossest 
partially can dispute this fact. 1 " 

In dealing generally with the exhibits of Becchcy, 
Lawrence and Hoppner, a writer in the Monthly Mirror 
of May 1796 observes: "Beechey ha# fewer eccentri- 
cities than his competitors for he never distorts his 
figures for the sake of extravagant attitude he is less 
fantastic in his design and less exuberant in manner, in 
short, he has more nature than the other two. . . - 
Beechey, who is more fixed and determinate, both in 
his colouring and outline, studies only to be chaste. 
Nothing will better ascertain this than a comparison of 
his portraits of Sir Phillip Stephens and Liuiy Young 
with Hoppner 1 s Duke of Bedford and lately Charlotte 
Campbell and Lawrence's Duke of Leeds and MIBS 

Although Pasquin's verdict has not been wholly 
ratified by posterity, it probably reflected the general 
opinion of the critics at the time it was written. We 
get, also from Anthony Pasquin, one of those little 
side-lights on the artistic temperament which shows 
that human nature was pretty much the same a century 

1788-1797 5i 

or more ago as it Is to-day. Before the final arrange- 
ment of the exhibits, we are told that Mr. Hoppner 
and Mr. Westall, who were nominated as the hangmen 
of the year, discovered that there were too many 
pictures: "The former wrote a card to Mr. Beechey 
informing him that if he would withdraw one of his 
whole-length portraits, he would withdraw one likewise : 
extraordinary as it may seem, there was no answer 
returned to this epistle ; but the measure took place, 
and Mr. Beechey was so highly incensed at the presump- 
tion of Mr. Hoppner, that he sent angrily to have all 
his pictures returned, but sent in vain. We have only 
to remark that Mr. Beechey was very much in the 
wrong to attach any idea of presumption to a gentleman 
so proverbial for modesty and good sense as Mr. 
Hoppner ; and we trust, he feels abashed at such a 
misappropriation of epithet."" (" A Critical Guide to the 
Exhibition of the Royal Academy * pp. 5-6.) 

Pasquin's above-quoted verdict probably held good 
at the Academy of 1797, when Beechey had six 
portraits of royal personages hung, in addition to 
three others. It was the year of Lawrence's unfortunate 
Satan calling his Legions^ a subject which he might 
quite well have left in the hands of Fuseli, in whose 
particular preserves the young artist would seem to be 
poaching. Lawrence's Satan^ upon which he had 
expended an enormous amount of time and energy, was 
generally condemned; it is now the property of the 
Royal Academy, having been purchased at the artist's 
sale on June 18, 1831, for 480 guineas ; and the general 


opinion upon it passed in 1797 will be generally ratified 
by any one who cares to examine the picture 
to-day. In addition to the Satan I^awrencc had six 
portraits in this Academy, one of which was of Mrs. 
Siddons, against Beechey^ nine. The portrait of 
Queen Charlotte, painted some yearn previously, has 
already been referred to ; the Princesses were Amelia 
(73), Elisabeth Augusta (8o)> Mary (106), and 
Elizabeth (107), and the Prince of Wales (91), o that 
the artist had made ample use of his opportunities 
as a royal portrait-painter. The general opinion con- 
cerning the royal portraits was highly flattering to 
Beechey ; in his notice of Princess Elizabeth, the irre- 
pressible Pasquin describes it as ** one of several vivid 
likenesses of the Princess ; the colouring is rather too 
tender, yet there is a fascination in it altogether which 
repays us richly for our attention, but this attribute is 
more congenial to the subject than the painter; this 
amiable lady seems to have all that bland dignity of 
mind which characterises her brother the prince, she 
governs our hearts by complacency, and ensnares our 
good will by her condescension, 

( Her liquid eyes ten thousand charms dispense, 
Breathing at once both love and Innocence/ ** 

There seems to have been the usual blundering in 
compiling the official catalogue 4 * the misnomcro and 
misnumbering in the catalogue are }>crtincnt and 
whimsical." According to the Gentleman** Maga^m * 

* From the same source (April 1839, p. 433), we learn that 
Beechey was " employed to paiat whole-length portraits of all the 

JNutional Portrait Gallery 

1788-1797 S3 

this series of portraits was painted for the Prince of 
Wales. The compiler of the Guelph catalogue, how- 
ever, states that these portraits were " executed 
by the painter during his residence at Court, in the 
capacity of instructor to the princesses, who, with the 
King and Queen, entertained for him the strongest 
regard" up to the last (p. 17). This is more likely to 
be the correct version, for, if the Prince of Wales 
desired such a series, the strong probability is that he 
would have commissioned his own official portrait 
painter, John Hoppner. 

These portraits are all three-quarter length in size, 
on canvas 35 in. by 27% in., and nearly all were lent to 
the Guelph Exhibition, New Gallery, 1891, by Her 
Majesty Queen Victoria, from Buckingham Palace- 
The series as exhibited comprised the Princesses 
Charlotte, Amelia, Sophia, Elizabeth, Augusta and 
Mary, so that, apparently, those of Princesses 
Charlotte (afterwards Queen of Wurtemburg), and 
Sophia were not sent to the Academy, and possibly the 
portrait of the Prince of Wales is no longer at Bucking- 
ham Palace, in which case it would have been given 
away by the Prince after his accession to the throne. 
" Mr. Beechey's portraits of the Royal Family are 
fine," says one of the critics; " that of Her Majesty is 
the most pleasing resemblance we have seen; had it 
been painted for an exhibition room it would have had 

Royal Family for the Gothic Palace erecting at Kew. There is also 
an apartment in Frogmore Palace which is decorated entirely with 
portraits by the same artist." 


more force. The portrait of the Princeas Amelia 
(erroneously catalogued Princess Mary) is in very 
elegant taste, well drawn and exquisitely coloured.** 

The portraits of the Queen and her children enjoyed 
great popularity not only at the Academy, but as 
engravings. Nearly all of them were reproduced in 
La Belle Assemble the fashionable and widely- 
circulated lady's magazine of the day' during 18061 
and were also printed in colours and published in a 
volume by E. Harding under the title of ** Portraits of 
the whole of the Royal Family^ 1806, whilst some of 
them were copied on enamel by Henry Bone. These 
engravings would have served a a splendid advertise- 
ment of Beechey's talents as a portrait painter* and the 
inevitable result would have been a large number of 
commissions. There can be no doubt that the artist 
painted many replicas of these royal portraits. It was 
fitting that the portrait of Lord Cardigan, to whom it 
is stated Beechey owed his introduction to George III., 
should appear in the same exhibition* and it figures in 
the catalogue as No. 150* Portrait of a Nbl$mn*> 
No. 165, was a Portrait of a Cekbrated ArtneM, who 
has been identified as Mian Leake, the famous Drury 
Lane singer, a native of Norfolk, and a pupil of 
Dr. Arnold, the celebrated composer ; this portrait wan 
engraved by Ridley for the Monthly Mirror of January 
1799, and represents her standing near a pillar, smiling 
and holding a mask, with flowers in her hair* The portrait 
of Master Hatch as Marshall's attendant at the Montem 
concluded Beechey"s exhibits at the Academy of 1797. 

Every portrait painter has suffered serious financial 

1788-1797 55 

and probably artistic loss through the fickleness of 
sitters, some of whom keep the first few appointments 
to sit, while others have sufficient energy to see the 
portrait finished, but not enough to pay for and take 
the picture home. Romney had several scores of sitters 
of both types. Beechey had them also, and the follow- 
ing interesting letter shows that at least one of these 
dilatory sitters had the thoughtfulness to make good 
his remissness. The letter, written from Colchester on 
January 3, 1805, refers to a portrait begun in 1797 ; it 
is from the Hon. Douglas Gordon Hallyburton, only 
son of Charles, fourth Earl of Aboyne, by his second 
wife ; the writer, who was then Assistant Quarter- 
Master-General, was born in 1777, succeeded to the 
estate of his cousin, the Hon. Hamilton Hallyburton 
of Pictur, in 1784, and died on December 25, 1841. 
The letter (the original of which belongs to Mr. Ernest 
Beechey) is as follows : 

u SIR, If I had as bad an opinion of your memory as 
probably you have of mine, I should think it necessary 
to recall to your mind by many minute particulars, the 
recollections of the person whose name you will find at 
the foot of this letter, and who at his mother's desire 
sat to you, more than eight years ago. I should say 
he was then a young gentleman who had rather out- 
grown himself, and who having just left the University, 
chose to be painted in a black coat and with a book, 
rather than in a red coat and sword, which ai-e now 
more appropriate emblems of the profession he has just 
entered into. If a picture answering to this descrip- 


tion is still in existence, it can be no other than that of 
Mr. Hallyburton. 

I have always found that the most likely way of 
being excused for any negligence is fairly to confess it 
and not to invent excuses, which cover the fault about 
as much as a vine leaf covers the whole body of one of 
our colossal statues* I shall therefore only say, sir, 
that I accuse myself of great negligence in not having 
very long ago paid the full price of my picture and 
removed it from your house, I think it not unlikely, 
that you may have supposed me to !)e either dead or 
held in profound sleep, and therefore in some moment 
of exigence, may have betaken yourself to the canvas of 
the defunct. Perhaps some fair lady occupies the 
place I once held ; who far from neglecting her image 
for eight years, every day beholds herself, as drawn by 
you, with greater delight than she could receive from 
looking in the glass. Should this be the case, I must 
confess the canvas is better employ \! than m exhibiting 
one who seldom wishes to see himself but when he 
shaves. If however, my picture is still in existence, I 
beg leave to express to you my regret at having ao long 
neglected it, and to Bay that I hope to be in town in 
three weeks, or a month, and will certainly have the 
pleasure of calling upon you, etc* etc* etc* May I beg 
you will favour me with a few lines in answer to this> 
and believe me, sir, a real admirer of your works, 

" Your most obedient very humble servant, 

Collection A 

The Louvre 



BEECHEY"S principal picture in the Academy of 1798 was 
one of the chief attractions of the exhibition, and was by 
far not only the most important work which he had 
attempted, but also the most ambitious. It figures as 
No. 178, and is thus catalogued : " His Majesty review- 
ing the Third or Prince of Wales's Regiment of Light 
Dragoons, attended by H.R.H. the Prince of Wales, 
H.R.H. the Duke of York, Sir W. Fawcett, General 
and Adjutant-General, and Knight of the Bath, 
Lieutenant-General Dundas, Quarter-Master-General 
and Major-General Goldsworthy, His Majesty^s first 
Equerry." The conception of the picture would seem 
to have dated from about 1794. " At this time (1794) 
Mr. Beechey had a cottage at Craven Hill, near 
Bayswater, and was in the habit of passing through 
the park every morning on his way to Great George 
Street. On one of these occasions it happened that 
the King (George the Third) was reviewing the House- 
hold Troops. He was mounted on his favourite white 
horse, Adonis, and was attended by the Duke of York 
and Generals Fawcett, Dundas and Golds worthy. The 
day was fine, and the exhibition so agreeable to the 


painter that he remained to witness the evolutions; 
and having made a sketch of the scenes with the 
portraits of the King and the Duke of York in the 
foreground, he took an early opportunity of showing it 
to His Majesty, who was pleased to give him & commis- 
sion to paint a picture in which tht figures should be 
represented the size of life. This he accordingly did, 
so much to the satisfaction of Im patron that he not 
only paid him liberally for his labour, but conferred on 
him the honour of knighthood* . * , Thin was an 
arduous undeiiaking, and i&, so fat as we are aware, 
almost the only work of its kind which ha* been pro- 
duced in England at the time at which it wan painted. 
The horses, although Mr Bccehcy had hail little prac- 
tice in animal painting, art* a* faithful and spirited 
portraits as their riders ; every facility for his achieve- 
ment of the task he had undertaken having been 
afforded to him by His Majesty. The picture occupied, 
when exhibited, a large portion of the end of the great 
room of the Academy** ( Alaric Watts, u The Cabinet 
of Modern Art," 1836* pp. 101-102.) 

The picture is on eanvas* 13 ft. 8 in. by i6| ft The 
king is in front on a white home, whoiic head is turned 
to the left* He is in full regimen tak> with a cocked 
hat. Just behind him is the Prince of Walea, in the 
uniform of the loth, holding up hw sword and giving 
the word of command. To the left of the King is the 
Duke of York, with General^ Gokhwortfay and Sir 
David Dundas; Sir William Fawcett i standing in 
front of them. The King is turning round to speak to 

1798-1806 59 

them, and points with his right hand to the cavalry 
charge in the left distance. 

The loth Light Dragoons (now the loth Hussars) 
was frequently reviewed by George III. in company 
with the Prince of Wales, who entered the army as 
brevet-colonel, November 19, 1782, and after whom the 
regiment was called " The Prince of Wales's Own " on 
Michaelmas Day, 1783. In 1793 he was appointed 
Colonel-Commandant of the Corps, and succeeded as 
Colonel on July 18, 1796. . . . This picture is regarded 
as Beechey's masterpiece, and was very much admired 
at the time. But " although a clever and showy group 
of portraits, it has little of real nature ; and is full of 
the painter's artifices. Thus, the King's white horse 
forms the principal light, and comes off the Prince of 
Wales's dark horse, and so on ; the light and shadow of 
all the heads being the light and shadow of the studio, 
and not of the field." (Redgrave, " Century of 
Painters.") The King had several copies taken of it, 
one of which he gave to Lord Sidmouth, the figure of 
the Prince was omitted by the King's desire, a 
curious proof of his dislike of his son. When the Prince 
became King he hinted that it should be restored, bat 
this was evaded, Benjamin Smith engraved the por- 
trait of George III. from this picture. 

Nearly all the newspapers spoke in highly flattering 
terms of the work. One (dated April 18, 1798) says 
that " the grouping of the figures is a strong proof of 
accurate judgment, and the horses are well drawn. The 
likeness of the Duke of York is, however, generally 


allowed to be imperfect. The painter has thrown a 
pensive and sable cast over the features, that makes the 
countenance of a man ten or fifteen yearn older than his 
Royal Highness." (T. H. Ward, *< Collection of News- 
paper Cuttings/) Another speaks of this * picture of 
immense size, great merit, and a most brilliant effect, 
we were astonished when told by the artist that it was 
completed in two months," (Same collection.) The 
Monthly Mirror (May 1798) always friendly to Beechey, 
says : " This grand picture arrests the primary notice, 
as well on account of its execution, as of the elevated 
characters of the persons represented* The difficulties 
Sir William Boechey has surmounted are scarcely to be 
conceived but by an artist. These are the extraordinary 
magnitude of the work* far beyond anything he had 
ever before had an opportunity of treating. , . . The 
horses exhibit great intelligence, apirit and freedom. 
The evolutions of the cavalry are arranged to the 
advantage of the principal figures. The whole is the 
work of a master, and will be so considered by posterity. 
Of the likenesses every man will judge for himself: for 
my part, I think them excellent." A signed drawing 
for this picture was purchased by the South KenKington 
Museum in 1890 (No. 134). Mr. Krnent A. Beechey 
possesses a sketch-book of his great grandfather's with 
a large number of pencil drawings and aketchetf for this 
work. The original picture was until recently at 
Hampton Court, but has been removed to Kensington 
Palace, and is fully described, with a photograph, in 
Mr. Ernest Law's " Royal Gallery of Hampton Court," 1 

1798-1806 6 1 

1898, p. 354. It was engraved in mezzotint by James 
Ward, April JO, 1800 (25! in. by 23 in.), and of this 
there are seven progress proofs of the first plate, and 
seven of the second in the British Museum Print Room. 
On February 6, 1811, the same artist-engraver issued a 
mezzotint portrait of the King, whole length, directed 
to right, looking to front, mounted on his favourite 
charger Adonis. "This picture would be correctly 
described as copied from Beechey ; on the seventh pro- 
gress proof in the British Museum the engraver has 
written : * The Horse painted from Adonis the King^s 
charger by James Ward. The figure copied out of the 
Review picture by Hopkins. The whole painted over 
and finished by Mr. Ward, and now in possession of 
Lord Somerville."* " (Mrs. JFrankau's " James and 
William Ward," pp. 97-8.) 

So far as we have discovered, only one of the many 
replicas has come into the open market. This, a sketch 
only, was presented to General Sir R. Donkin by the 
Duke of York, and was lot 108 at Christie^s on July 30, 
1895, w ^en it realised 90 guineas. Mr. Herbert Jack- 
son possesses a replica on a small scale (about the size 
of the engraving), which, it is believed, Sir William 
Beechey painted; this may be identical with the 
" small copy * of this picture which the artist sold to 
Mr. T. Bernard in 1811 for 50 guineas. Soon after 
the Academy was opened, the King conferred (May 9) 
on Beechey the honour of Knighthood " at the express 
intimation of the Queen, a mark of favour well-merited 
by the artist, and creditable to the discernment of Her 


Majesty " (Monthly Mirror, May 1798, p. 282), and 
this was the first instance of such an honour being 
conferred on an artist since Sir Joshua ReynoIdsV time. 
During the same year also he was elected a Royal 
Academician, filling the vacancy caused by the death 
of William Hodges. 

The King's dislike to his eldest son is too well known 

to be dwelt upon here ; the presence of the Prince in 

this great picture is accounted for in the following 

manner. When the work was nearly finished, the 

Queen came into the studio and the artist said to her : 

** Now what I should like to do, and what would be the 

making of the picture would be to put the Prince of 

Wales on his black horse behind His Majesty's while 

one, but I should never dare to do it" So the Queen 

said "Qh, do, just dash it in for me to Rce.* Sir 

William said it was as much an his life was worth to do 

it, but Her Majesty exclaimed, ** Never mind, I will be 

responsible, 1 ' and so it was done. Soon afterwards the 

King came in with his cheery greeting of u Well, 

Beechey, how are you ? What* what, what ! What's 

that Beechey ? Nonsense, I won't have it ! " And ere 

he could make a reply the Queen said it was her doing, 

but he was very wroth and ordered it to be stripped off 

the frame and burnt ; of course the artist obeyed, and 

thought it was sent away to be burnt, but the Courtier 

who took it kept it, and two years after when the King 

was reconciled to his son he asked where the picture 

was, " Didtft you finish it Beechey ? * and when he was 

reminded of the incident he could not recollect it at 

By permission of the Executors of the late W.L. Elfam, Etq , Philadelphia 

1798-1806 63 

all ; the gentleman who kept the picture then produced 
it and it was finished with the Prince in it. How 
far or to what extent these stories (derived from 
family records) are true or otherwise, it is now 
impossible to state, but there is a most significant 
entry in Beechey's Account-Book under date 
September 2, 1817 : "Of the Prince Regent from the 
Lord Chamberlain's office for altering the large picture 
of His Majesty on horseback, 105," and the only 
alteration which this sum would suggest is the addition 
to the picture of the portrait of the Prince of Wales 

Sir William used often to sleep at the palace and the 
King, an early riser, would come into his bedroom 
before he was up and say, " What, still in bed Beechey ? 
Lazy fellow, get up and come out." One day he went 
into the studio and saw he had put a tree with autumn 
tints in the background of the picture of a lady he 
was painting, and said, " Hullo Beechey, red trees, red 
trees ! No such thing as red trees, don't believe it." 
,So next morning Sir William got up early and cut a 
bough with very red leaves and hung it on the easel 
before His Majesty came in ; when he did come in 
he stared at it, and then said u Humph, painted by 
God, eh ? Bad courtier Beechey, take it out," and of 
course he did. His object in painting a red back- 
ground was that he might put more colour in the flesh 
tints, and he used to declare that there was so much 
colour under the surface that his pictures would 
outlast those of any painter of his day. 


In addition to this great picture, Bcechey was also 
represented at the Academy of 1798 by three portraits 
and a group. Lady Gawdor, No. 169, was I^uiy Caro- 
line Howard, eldest daughter of the fifth Earl of 
Carlisle, and wife (she married on July 27, 1789, and 
died in 1848) of John Campbell who was created Lord 
Cawclor in June 1796 : perhaps the Lady Caroline 
Campbell of the 1795 Academy is identical with the 
Lady Cawdor of 1798. Mr, John Trotter (1757- 
1833), whose portrait was, t4 in point of forces and 
nature,entitled to rank very higir ( M Public Characters*" 
p. 355), and by another writer pronounced u the most 
scientific portrait of the day, and nearly concentrates 
the very perfection of the art," was one of several 
remarkable sons of Archibald Trotter of The Bush, 
Castlelaw, Scotland ; he came up to London and obtained 
a post in a Government office where his great adminis- 
trative capacity speedily procured has promotion " inas- 
much that he became at la&t almost the sole and 
recognised director of a branch of the revenue, of vast 
extent and vital importance * ; while having the direc- 
tion of the National Stores, and the contract** for many 
supplies, he had found it necessary to purchase, build, 
and give a wide extent to premises adjoining his residence 
in Soho Square and spread into adjacent streets When 
the Government department was formed, these spacious 
premises fell back into his hands, and his enterprise kd 
him to build in 1815, w ^at was afterwards known as 
the Soho Bazaar, which for long remained one of the 
sights of London, He purchased Dyrham Park, Herts. 

1798-1806 65 

His elder brother Alexander, was a Navy Office 
reformer whose enterprise involved his chief, Lord 
Melville, in trouble ; and his younger brother, Coutts 
Trotter, was created a baronet on July 2I 9 1821. An 
interesting personal account of the Trotters is given 
in Jerdan's "Men I Have Known," 1886 (pp. 421- 


The Mrs. Ed. Long, No. 234, was Mary, daughter of 

John Tomlinson, Esq., M.P. for Steyning, and wife of 
Edward Beeston Long, of Hampton ; of her husband, 
also, Beechey painted a portrait of which an ** un- 
finished " example was lot 65 in the Beechey sale at 
Christie's on June n, 1836, when it realised only ^"3 ; 
it may have been only a replica of a finished portrait. 
The writer of the obituary notice in the Gentlemcvn'** 
Magazine (April 1839), refers to " one of the best of 
Sir William's works " as being in the possession of 
Edward Beeston Long's son, " Henry L. Long, Esq., of 
Hampton Lodge, Surrey; the subject is the Infant 
Hercules^ Sir William often spoke of it as his favourite 
picture. Mr. Long, then a child of about two years of 
age, is painted as the young Hercules, while his elder 
brother, Edward Noel Long (afterwards of the Cold- 
stream Guards, and lost on his passage to Spain in 
1809), is represented as robing him in the lion's skin. 
This picture was afterwards, with the substitution of a 
cross for the club, copied by Sir William for his picture 
of St. John the Baptist." The portraits of Mr. 
Wedderburn's children, of which a photographic repro- 
duction may be seen in Mr. A. Wedderburn's "The 


Wedderburn Book," 1899, may also be mentioned* 
The Academy of this year was Beechey^s greatest 
popular, if not artistic, triumph. During this year his 
portrait of H.R.H. the Prince of Wales was deposited 
in the Council Room of the Royal Academy on his 

Beechey had no royal portraits in the 1799 Academy, 
but he had a picture, which curiously enough, brought 
him into rivalry with Lawrence, who, in 1798, exhibited 
his portrait of Kemble as Coriolanus at the hearth of 
Tullius Ansidius, which, in spite of its meritn, ** was 
never very much admired by the profession^ 1 Beochey's 
nine portraits of 1799 included one of Mr. Kemble, but 
not in character ; it shows the great actor nearly full 
face, in dark velvet coat and shirt ruffles, hands crossed 
on a book, which rests on a table this strong portrait 
is in the Dulwich College Gallery; another version of it 
is at the Garrick Club. This was followed in the next 
year's Academy by another picture by Lawrence, of 
Kemble as Holla, and* in 1801, by the portrait of 
Kemble as Hamlet, now in the National Gallery, both 
engraved by S. W. Reynolds. Beechey *K portrait of 
Kemble was a commission from Desenfans, and is in 
other respects interesting, as may be gathered from the 
following letter : 

CHARLOTTE STREET, Thursday morning. 

"DBA* SIR, Some of your Brother artiste will 
probably wish you joy with their Ups only, and I wish 
you joy with all my heart, nay, my own vanity is 

By permission of Henry P/un^st, Esq. 

1798-1806 6/ 

gratified on this occasion, as I have always been partial 
to your performances. Indeed by conferring the honor 
of knighthood on you the king has honored himself as 
much as he has done you. Since I have shown my 
pictures to His Majesty, I have entertained the highest 
opinion of his taste from the remarks I heard him 
make* I am happy that he has now giv'n at once a 
fresh proof of his knowledge^ and a fresh encouragement 
to the arts. 

" I hope as soon as you are at leisure you will go on 
with [the] Kemble portrait, so that I may have to 
boast I possess the first picture of Sir William 

" Believe me, with great and sincere attachment, 
" Dear Sir, Your humble obedient servant, 

Two of the Beechey exhibits of 1799 might rank as 
fancy portraits, Miss Lushington being represented as a 
Bacchante (" painted with uncommon spirit and great 
science"); and the celebrated "Anastasius" Hope in 
Turkish dress. There were also portraits of Mrs. 
Grooch a lady of this name was residing, according to 
Boyle, at 20 Michael's Place, Brompton, in this year ; 
the Marquess Cornwallis, a whole length in Robes of 
the Garter, engraved in mezzotint by James Ward, in 
the year of its appearance at the Academy ; Sir William 
Young, doubtless a companion to the whole length of 
Lady Young of 1796; and Mr. Boulton, of Soho, 
Staffordshire, the eminent engineer, inventor and 


associate of Watt, a nearly whole-length portrait 
engraved by W. Sharpe in i8ox> by Cardon for the 
"British Gallery of Contemporary Portraits, 1 * 1822, 
and by Mackenzie for the Union Magazhw^ August 
1802. Boulton was an old friend of the Beecheys, as 
may be seen from the following letter, written three 
years before his death. The letter is inscribed in 
Beechey's autograph, " Mr, Boulton, Soho, October 
1806, with medals of Lord Nelson.* The letter is as 
follows : 

SOHO, Qstobir 20, 1806, 

" MY DEAR SIR, It is a long time since I gave you, 
under my own hand, a proof of my existence, which I 
am now just able to do, but nevertheless I am very weak 
and in constant pain. 

" Although the Hero& of Trefalga [.tic] conquered the 
French and Spaniards, yet nevertheless feoble as I am I 
am now prepared to conquer them by the pretence of 
their immortal and unconquerable commander ; speci- 
mens of which I send you herewith in silver* copper 
and grain tin ; but I beg you will view them an they lye 
in their boxes and touch the edges only. 

"Allow me, dear sir, to present my love to Lady 
Beechey and my blessing to all your children with my 
most ardent wishes for your health and every other good 
you can desire. 

A< Remaining ever, 

My dear Sir William, 

u Your affectionate friend, 


1798-1806 69 

There were two other portraits in the Academy of 
1799. One of Lady Carbery, who was Susan, daughter 
and sole heir of Colonel Henry Watson chief engineer 
in Bengal and wife of George, fourth Lord Carbery, 
whom she married on August 13, 1792 ; after his death 
in 1804, Lady Carbery married Mr. George Freke Evans 
of Bulgaden Hall, and died in 1828. The second of 
these two portraits was of a " Mr. Browne."" In this 
yearns Academy Henry Bone exhibited his copy on 
enamel of Beechey 's portrait of the Queen. 

The rivalry of the four great portrait-painters of the 
day Lawrence, Hoppner, Beechey and Opie was 
perhaps never so manifest as at the Academy of 1799. 
All four had very nearly reached their highest level, arid 
it was a question, not so much as to which would advance 
as to whether they would maintain their respective 
positions. With the exception of Opie, all were power- 
fully supported by one section or other of the Royal 
Family, and all were in the enjoyment of the patronage 
of " the rank and fashion." Other men were slowly 
making headway, Martin R. Shee, William Owen, and 
Raeburn more especially ; the most powerful rival of all, 
George Romney, had returned to his house in the North 
of England, a physical and mental wreck, after nearly 
forty years of incessant application, and an unrivalled 
popularity which existed for nearly a quarter of a 
century, entirely unaided by the " advertisement " of 
the Royal Academy. 

Beechey ''s eight portraits of 1800 included two of 
royal personages, the King and H.R.H. the Duchess of 


York. That of the King, No. 69, was clearly a whole 
length on horseback, as, according to a newspaper 
cutting in Mr. T. Humphry Ward's collection, " The 
horse we understand was painted by Gilpin, and it is 
worthy of his professional repute." This portrait is, or 
was, at Windsor Castle ; the artist probably executed a 
number of replicas, from " heads " to whole lengths, of 
this picture, which is probably the one engraved in 
mezzotint by James Ward in 1811 ; one of these, three- 
quarters or ** a head," was in the artist's own possession 
in 1809, when it was engraved by A. Cardon for Cadell 
and Davies^s series of portraits: it was bought in at 
the Beechey sale at Christie n s, June u, 1836, and was 
"passed" at the sale at Rainy X July 19, 1839. An 
unexhibited whole-length portrait of His Majesty was 
painted by Beechey at this time, and is now at Lord 
Salisbury^ residence at Hatfield : the King is standing, 
the face seen three-quarters to the left, wearing Field- 
MarshaPs uniform and the Star of the Order of the 
Garter, he holds a cane in his right gloved hand, the 
other glove in left hand ; Hatfield House and park are 
seen in the background ; this portrait was presented by 
His Majesty in commemoration of his visit to Hatfield, 
June 13, 1800, at the Grand Review. It may be here 
mentioned that Lord Salisbury possesses copies by Sir 
William Beechey of Reynolds's portraits of George III, 
and Queen Charlotte.* 

* With regard to copies after Reynolds ; '* We were once assured, 
on no less authority than that of the late Mr. Northcote, that 
Sir W. Beech ey's copy of Sir Joshua Reynolds (now in possession 

1798-1806 7 1 

The portrait of the Duchess of York, No. 68, is a 
three-quarter figure portrait of much artistic charm ; it 
shows her seated in a white dress ornamented with gold, 
and with a three-row gold necklace, she holds a letter in 
her left hand, whilst others lie on a table to her left 
(canvas 35 in. by 27 in.) ; this portrait was presented 
by Her Royal Highness to Mrs. Gwyn, and was lent to 
the South Kensington Portrait Exhibition in 1868 by 
Mr. R. Gwyn ; it was successively in the Gwyn, James 
Price and Sir Julian Goldsmid's sales at Christie's, in 
1889, 1895, and 1896, realising 75 guineas, 1200 guineas 
and 1400 guineas respectively. This is, presumably, 
the portrait by Beechey of the Princess engraved by 
M. A. Bourlier, for La Belle AssembUe of September 
1806 ; but a slightly different portrait of her, looking to 
left, with a four-row pearl necklace, with high pleated 
collar, was engraved at about the same time by Scriven. 
Beechey's only other portrait of a " Person of Quality " 
in this Exhibition was that of Lord Carnarvon, whose 
brother, Charles Herbert, was, as we have seen, an early 
patron of the artist. Still more interesting was No. 179, 
Lady Beechey. The writer of the sketch of Beechey in 
" Public Characters, 1800-1801," says : " A portrait of 
Lady Beechey, with the youngest of eight children in 
her arms, we cannot omit noticing, as a strong example 

of Lord Northwick), and his portrait of Mrs. Robinson (now in 
possession of the writer of this notice), were so highly approved by 
Sir Joshua Reynolds that when he saw them by the side of the 
originals, he declared that he had a great difficulty in recognising 
his own works." Alaric A. Watts. " Cabinet of Modern Art," 
pp. 102-103. 


of the manner which an artist succeeds when he paints 
con amore ; in point of drawing, resemblance, colouring 
and character it is a chefcTaeuvrc. If it came into our 
plan to enumerate this lady^s performances in miniature 
(for she also is an artist, and a good one) many admir- 
ahle little pictures might be added to this list," This 
picture was generally praised, one newspaper said that 
" the appearance of nature is ably represented in the 
child, and there is a pleasing expression of parental 
tenderness in the mother." Says the writer in the 
frequently-quoted notice in the Monthly Mirror : ** he 
has been married several yeai-s to Lady Beeehey, his 
second wife, an amiable and accomplished woman, who 
is herself an artist of very superior ability. They have 
been blessed with eight children, of whom the eldest i 
now only nine years of age." Beeehey's other exhibits 
in 1800 included Mrs. Hill and child ; Captain Foley, 
probably a relative of the Mr* Foley of 1795; Mrs. 
Greenwood, perhaps the wife of the Mr. Greenwood of 
the 1792 Academy ; and Master Gosling, the first of a 
number of members of this family to sit to Beechey ; 
the other Gosling portraits will be found in the Account 
Books of 1817, 1820, and 1823. 

A portrait of considerable interest was painted in 1800 
by Beechey, vk,, that of Nelson's father, the Rev* 
Edmund Nelson (1722-1802), a bust full face, in black 
gown (canvas 30 by 25), now the property of Earl 
Nelson; a copy of it is in the Combination Boom* 
Caius and Gonville College, Cambridge, of which 
College Nelson's father was a Fellow and of which also 

7'Vom the engraving by 7'. JFoott.oth 

1798-1806 73 

Beechey's son and grandson were alunrni. The story of 
the portrait (which was lent to the Exhibition at South 
Kensington in 1868) is told in the following letter, 
dated March 4, 1800, from Lady Nelson to her 
husband : " I think you will be surprised when I tell 
you our good father is sitting for his picture. Sir W. 
JBeechey is the fortunate man. You must know it is a 
profound secret. I went to Sir W. B. to ask his price, 
look at his pictures, and then inquire whether he would 
go to an invalid ? The answer, ' No,' puzzled me : 
however I said, 6 Sometimes general rules were broken 
through. Sir W., finding I was rather anxious about 
this picture, said that really he never went to any 
person excepting the King and Royal Family. The 
Duke and Duchess of York had that instant left the 
house. I knew that. 6 But, madam, may I ask who is 
the gentleman ? ' * Yes, sir ; my Lord Nelson's father/ 
My God, I would go to York to do it ! Yes, madam, 
directly.' He was as good as his word, and has been 
here twice. I think the likeness will be an exceeding 
good one. I don't know whether the picture is for you 
or me. . . . The picture is for you, so I hear this 
morning " (Nicolas's " Despatches and Letters of Lord 
Nelson," iv. 514). 

The first of the 1801 portraits was No. 79, H.R.H. 
the Duke of York. This was doubtless the whole 
length of the Duke presented to the Royal Military 
Hospital, Chelsea, in 1807, by Mr. Charles Greenwood, 
and lent to the Military Exhibition in 1890, No. 691, 
by permission of Lieut.-Col. Fitzgerald. The Duke, 


who was popularly known as u The Soldier's Friend," 
was first President of this Hospital ; he was the second 
son of George IIL, was born in 1763 and died in 1837. 
A coloured engraving, which shows a half figure, in 
blue uniform with Order of the Garter, directed to 
front and looking to left, was done by Maria A. Bourlier 
for E. Harding's collection of " Portraits of the whole 
of the Royal Family , w May 19, 1806. A portrait of 
the Duke (canvas 51 in. by 6i| in.) was presented in 
1895 by Mr. T. J. Blakeslee to the Metropolitan 
Museum of New York. Another portrait of the Duke 
of York was exhibited at the Academy of 1812, and 
will be referred to in due course* A second royal 
personage was No. 144, H.R.H. Prince Augustus (after- 
wards Duke of Sussex), probably the portrait engraved 
by M. A- Bourlier for Harding 1 s above-mentioned 
** Portraits," and lot 80 in the Duke of Cambridge*'** 
sale at Christie"*, June n, 1904, when it was purchased 
for 38 guineas by an American dealer. But the 
most important picture of the year was No. 125, 
Lord Nelson. This portrait was painted at the 
request of the Corporation of the City of Norwich 
for St. Andrew's Hall in that city. It is a whole 
length, and represents him standing on deck, 
directed to front, facing and looking towards right, in 
uniform with stars and orders, left hand ou sword. 
This is the parent of a large number of replicas by 
Beechey himself, and of copies by others, whilst to 
enumerate all the engravings which have been clone 
from it would far exceed the limits of this work. 

1798-1806 75 

General W. E. G. Bulwer, of Heydon Hall, near 
Norwich, possesses the original finished sketch in oils 
(canvas 17 \ by 15!) of the head and shoulders of this 
great picture ; this sketch is of very fine quality, full 
of vigour and life. The earliest engraving was in 
mezzotint by Edward Bell, published on May I, 1805, 
and dedicated to the Corporation of Norwich " by their 
much obliged fellow citizen and humble servant, 
Jeremiah Freeman." A smaller picture, three-quarter 
figure, in naval uniform, breast covered with decora- 
tions, right sleeve fastened across, left hand on sword, 
was presented to the Corporation of the City of London 
by Alderman John Boydell, and was engraved by 
Richard Earlom in January 1806. The Earl of 
St. Vincent's version was engraved by R. Cooper for 
Cadell and Davies's series of portraits in 1815, and the 
Duke of Wellington's was, still later on, engraved by 
Thomas Hodge Its, May 1840. A portrait "which 
belonged to the widow of Nelson's coxswain, who gave 
it to the exhibitor shortly before her death in St. Paulas, 
Bermondsey," was lent to the Naval and Military 
Exhibition, Edinburgh, 1889, No. 176, by the Rev. S. 
M. Mayhew. Others have occurred for sale at Christie's 
from time to time, and it would not be difficult to 
swell the list. Beechey, according to A. A. Watts, 
"had the gratification of numbering " Lord Nelson 
" among his friends." " His lordship stood godfather 
to one of Sir William's children, and at his particular 
request presented him with the hat he wore at the 
Battle of the Nile. He parted with it, he said, as an 


old and tried friend, for he had worn it In many 
battles" ("Cabinet of Modern Art," p. 102); this 
hat, with other relics, is still preserved in the Beecher 

The two *< ladies of quality" represented in the 
1801 Academy were : Lady Georgiana Bathm*st as 
"Adoration," a work engraved by Caroline Watson; 
and the Viscountess Folkestone, Lady Catherine, only 
daughter of Henry, Earl of Lincoln, and first wife of 
Viscount Folkestone, Earl of Radnor, to whom she was 
married October 2, 1801 (she died May 17, 1804). A 
copy by S. Woodforde of this portrait was sold at 
Christie's on May 4, 1901 ; the original picture is at 
Radnor Castle, and is here reproduced by the courteous 
permission of the Earl of Radnor, but the illustration 
gives little idea of its brilliant colouring. The exhi- 
bition also included " Rebecca; a Portrait,'*' which a 
writer in the Monthly Mirror describes as ** in the 
style of the Florentine school * ; a ** Portrait of a Lady," 
whose name has not been revealed, and one of a little 
girl, Miss Home, " dressing herself** In 1801 Beechey 
was a witness in the famous law case of Delatre t>. 
Copley. When Copley finished his great picture of 
The Death of Chatham, he placed it in the hands of 
Bartolom, who undertook to engrave it for 2000 
guineas. Bartoloasssi contracted with the defendant to 
publish another engraving of the same, half the size, 
for which he was to give him ;8oo* After working 
three years on it, Delatre finished it and sent a proof to 
Copley, who, however, was dissatisfied, and refused to 

Thepioyertyof the Royal Academy of Mime Itt'imul 


1798-1806 77 

pay the balance of ^650, i$o having been paid 
during the course of the work. Bartolozzi spoke in 
favour of the engraving, and was sharply examined by 
Erskine ; Beechey, Opie, Hoppner, Cosway and West 
pronounced the engraving extremely ill-executed, but 
the plaintiff obtained a verdict, with 650 damages. 

Beechey managed to have two portraits of royal 
personages included among his eight exhibits of 1802 ; 
these were the Duke of Cumberland and Princess 
Augusta. That of the former, a half-length in the 
uniform of the Hussars, resting both hands on his 
sword, was engraved by Fogg for Harding's " Poz-traits 
of the whole of the Royal Family," 1806, and was 
included in the Duke of Cambridge's sale, June n, 
1904, when it realised 270 guineas ; a replica by 
Beechey himself was lent by Lord Talbot de Malahide 
to the South Kensington Exhibition in 1868. The 
portrait of Princess Augusta is probably that which 
was engraved by Geremia for Harding^s " Portraits," 
and represents her in a brown dress lined with blue, 
muslin kerchief round her hair, seated before a spinning- 
wheel ; this was in the Cambridge sale, 1904, lot 74, 
when it realised 80 guineas ; the same sale included 
three portraits of this Princess, a second, lot 79, showing 
her in white muslin dress, blue sash, and blue ribbon in 
her hair, and this realised 80 guineas. The most 
important of these three portraits will be referred to in 
dealing with the Beechey exhibits of 1819, whilst a 
fourth portrait of her, at Buckingham Palace, has 
already been described (p. 53). The 1801 portrait 


of Nelson was followed, appropriately enough, in 1802, 
with one of Sir William Hamilton, the husband of 
Emma, Lady Hamilton, whose name is so indissolubly 
associated with that of Nelson. This portrait of 
Sir William Hamilton, who died just twelve months 
after its exhibition, has disappeared. The portrait of 
Mr* Watt, of Soho, Staffordshire, No, 101, represents 
the famous James Watt* (1736-1819), the eminent 
engineer, and partner of Matthew Boulton, whose 
portrait was in the 1799 Exhibition ; this portrait 
was painted on Wattes retirement from the business, 
in which he had successfully effected a transform- 
ation of the method of locomotion, and represents 
him a grey-haired elderly man, in dark coat and 
white stock, directed to front, full face. It has fre- 
quently been engraved : by Thomson for the European 
Magazine, 1820; by G, CX Picart, for "The British 
Gallery of Contemporary Portraits " ; by C. E* Wag- 
staff, for Knight's Gallery of Portraits^ 1833-7, 
when it was in the possession of J, Watt, of Aston 
Hall, Birmingham ; and by Hinchcliffe, for BeckmanzfH 
" Inventions/" Another interesting portrait of this 
year was No* 274, Mr. Watts* This was David Pike 
Watts, of Portland Place, London ; and this portrait, 
with other things, passed into the possession of Jesse 

* This great man, to quote Lord Brougham's words, by " direct- 
ing the force of an original genius, early exercised in philosophical 
research, to the improvement of the steam-engine, enlarged the 
resources of his country, increased the power of man, and rose to an 
eminent place among the most illustrious followers of science, and 
the real benefactors of the world." 

1798-1806 79 

Watts Russell, of Ham Hall, Staffordshire (it forms 
No. 24 in the 1827 catalogue of that collection), whose 
choice gallery of pictures was dispersed at Christie"^ in 
July 1875, when a splendid landscape by Gainsborough 
was secured for the National Gallery. Jesse Russell 
married, as his first wife, Mary, only child and heir of 
David Pike Watts, and assumed the surname of Watts 
in March 1817, presumably on the death of his father- 
in-law. There was evidently a more than business 
intimacy between David Pike Watts and the artist, 
who apparently was at one time his patron's guest. In 
the Jesse Watts-Russell sale, July 3, 1875, there were 
four pictures by Sir William Beechey, all presented by 
the artist (lots 2-5) : View from the House of David 
PiJce Watts, Esq., St. James's, Dover, dated 1802 ; 
Beggars at a Cottage Door; St. RadiguncFs Abbey, 
Dover; and the companion picture. The last two 
pictures, also painted in 1802, were again sold, together, 
at Christie's, on May 6, 1905, when they realised 
20 guineas. The Academy of 1802 also included a 
portrait of Mrs. Skottowe, and a group of Lady Temple 
and her son Lord Cobham. Lady Temple was after- 
wards Duchess of Buckingham, and her son (born 1776) 
succeeded his father in 1813 as second Marquess of 
Buckingham: he became Duke of Buckingham and 
Chandos in 1822. When the art collections of the 
family were dispersed, this picture was amongst them, 
forming lot 115, in the sale at Avington House, near 
Winchester, in 1848. The Stowe Catalogue of 1838 
(p. 50) includes a Beechey portrait of this the second 


Marquess and first Duke of Buckingham and Chandos, 
but it was not included in the famous sale held at 
Stowe in 1848. 

Beechey had only five portraits in the 1803 Academy ; 
and one of these, No. 129, was of the Princess Sophia of 
Gloucester, eldest daughter of the first duke ; the en- 
graving of Scriven in La Belle Aasemblte of November 
1808, is of the head and shoulders only ; she is wearing 
a white low dress, arms bare, three-row pearl necklace, 
and with white head-dress, the ends of which fall over 
her right side, right hand resting against her face. 
Another portrait of her, in white muslin dress, a pearl 
necklace, and pearl ornaments in her hair, was in the 
Duke of Cambridge sale of June 1904 (30 in, by 25 in.), 
lot 76, when it realised only 55 guineas ; and yet 
another, half-length, life size, in brown dress and up- 
right lace collar, gold necklace (30 in* by 24 in.), was 
lent by the Eai'l Waldegrave to the Exhibition of 
Portraits of the Monarchs of Great Britain at the New 
Gallery in 1901-2. A second portrait of this year was 
that of Charles, Earl of Romngy (No. 55), a whole 
length, standing, looking to front, right hand on paper 
on table to left, sword in left hand ; this was engraved 
in mezzotint by Valentine Green, October 15, 1803, 
Either the original portrait or a replica of it is now at 
Petworth,* Lord Leconfield^s seat ; another version was 
engraved as a book-illustration early in the nineteenth 

* " Among the kindest and most liberal patrons of Sir William 
Beechey it would be an injustice to both parties not to mention the 
name of the Earl of Egremont ; indeed, it would be difficult ta 

By permission ofES. Trafford, Esq. 

1798-1806 8 1 

century by W. Bromley, " from the original painting 
. . . in the possession of the Marine Society, 1 '* a 
head and shoulders only, in robes. Miss Halton 
figured as No. n ; Sir W. Staines,* No. 65, was an 
eminent city magnate, knighted on October 26, 1796, 
the year before he served as sheriff (he was elected 
alderman in 1793) ; in 1801 he became Lord Mayor, 
and died at Clapham on September II, 1807 ; he was a 
stone-merchant of Milbank Street. A group of Mrs. 
Symonds and Family formed No. 117, " In the family 
group of Beechey," says one of the newspapers, " there 
is truth of design and force of colouring. It is placed 
in the centre of the great room, and is one of his best 

point out any man of worth and genius who has made the fine arts 
his profession, who has not received more or less encouragement 
at his hands" (''Cabinet of Modern Art," p. 103). The Earl of 
Romney, mentioned above, married Frances, daughter of Charles, 
Earl of Egremont (and sister of George, Earl of Egremont, the art- 
patron mentioned by the writer of the above quoted notice in the 
"Cabinet of Modern Art"); and the other pictures by Beechey 
purchased by the Earl were Venus and Cupid, Mrs. Hasler as Flora, 
Lady Burrell as Hebe, a second portrait of Lady Burrell, and 
Charlotte Tredcroft, Lady King, dated 1820, 

* " When Mr. Nollekens once had occasion to visit the church of 
St. Giles, Cripplegate, he asked me to walk with him ; and as we 
entered Jewin Street, we met Sir William Staines, who informed 
him of his having been chosen Mayor, and that he should send him 
a ticket for the civic dinner. Nollekens: 'Dinner I Bless your 
heart, I'd rather dine at home ; you citizens make such a noise, and 
I get my clothes spoiled ' . . , Staines : * Have you bought any 
stone lately? I have some very close Yorkshire* 1 Nollekens: 
"No, I don't want any. 1 Staines : 'Well, then, you won't dine 
on my day? ' Nollekens ; ' No, but I suppose my friends Sir William 
Beechey and Sir Francis Bourgeois wall be there.' J. T. Smith, 
" Nollekens and His Times," vol. i, pp. 349-50. 


works ; * but nothing is so far known of either Mrs. 
Symonds or of Miss Halton. 

Only one of BeecheyV 1804 Academy pictures 
seven in number has been identified ; and this, No. 416, 
Mr. Heaviside, does not appear to have been a good 
portrait. John Hcavisidc (1748-1828), his town 
address was 14 George Street, Hanover Square, a few 
doors from Beechey's old residence at No. 8, was a dis- 
tinguished surgeon of Geddons, Herts, and this 
portrait was engraved in mezzotint by W. Say, half 
length, in plain coat, buttoned, looking to front, in 
July 1803 ; and it was again engraved by J. Cochrane 
for Jordan's " Portrait Gallery," 1830-4 (vol. ii.) ; an 
enamel of it was exhibited by H, Bone in the 1806 
Academy, No. 765. A writer in one of the newspapers 
(Colnaghi, "Collection of Newspaper Cuttings '"*) declares 
it to be " by no means a good or faithful likeness of 
the worthy original. This, among other instances, 
proves that a painter may gain, perhaps deservedly, 
great reputation without the wise intention of pre- 
serving it by great care and assiduity." 

Both Hebe and Psyche were subjects which fre- 
quently attracted Beechey, and one each of his many 
versions of the two appeared at the Academy now 
under notice* Without exhausting the subject, it will 
be necessary here to enter somewhat fully on his versions 
of both, Hebe figured first as No- 6. There can be 
no reasonable doubt that the earliest of this numerous 
family was the small picture painted on panel 
(30^ in. by 24^ in.) in 1803 for Charles Small Pybus;* 

* Pybus was a barrister, M.P. for Dover, and one of the 

1798-1806 83 

this is a charming picture of no ordinary artist's model ; 
a half figure in low classical dress, directed to left, and 
looking at the spectator three-quarter face, the left arm 
is bare, with jewelled armlet above the elbow, hair 
falling in curls over forehead and neck and bound with 
a jewelled band. She is holding with both hands a 
tray, on which is resting a vase. This picture realised 
500 guineas at Christie"^ on May 8, 1897, lot 80, and 
an illustration of it is given in this book. It is highly 
probable that this is another version of the Petworth 
picture of Lady Burrell (Frances, daughter of George, 
Earl of Egremont, married May 8, 1808, Sir Charles 
M. Burrell, M.P., and died September 28, 1848) ; a 
presumption greatly strengthened by Watts's statement 
that the portrait of "his lordship V daughter " (Lady 
Burrell) was "beautifully copied in enamel by Bone, who 
represents her as Hebe " ; in 1806 H. Bone exhibited at 
the Royal Academy, No. 706, an enamel of Hebe 
after Sir W. Beechey. A much later picture, and not 
nearly so fine, signed with monogram and dated 1823, 
was in the Massey-Mainwaring sale at Robinson and 
Fisher's, June 10, 1898 ; it is said to represent the 
artist's second daughter, Charlotte Eaz*le, who married 
on July 26, 1825, the third Lord Grantley (she died 
on May i, 1878) : this is also a half-figure portrait, 
and shows her in white low classical dress, with a gold 
and ruby armlet and bracelet, facing front, and looking 
to right ; the dress is suspended over the left shoulder 

Commissioners for the office of Lord High Admiral from 1791 to 
1795. Beechey' s portrait of him (294- in. by 24 in.) is now in the 
Dulwich College Gallery. 


by a blue ribbon, a wreath of roses and other flowers in 
her hair, her right hand about to remove the cover 
from a gold drinking cup (canvas, 24! in. by 29 in.) ; 
this picture was purchased for 125 guineas by M. 
Sedelmeyer, of Paris, in whose sixth series of 
"Painting by Old Masters/' 1900, it is illustrated. 
Another portrait of Lady Gran&ley as Hebe was sold 
at Christie's on March 22, 1900, lot 113, 168 guineas ; 
and one of Lady Beech&y as Hebe (from ** the Beechey 
Family'') figured as lot 120 at Robinson and Fisher's, 
May 21, 1903. There can be no possible doubt that 
Charlotte Beechey sat to her father for a fancy picture 
of Hebe, for the present Lord Grantloy possesses 
among nine pictures by Beechey one of his daughter 
Charlotte, who became Lady Gxantley, in this character. 
Another Hebe was lot 63 at Christie's, February 10, 
1899. Two pictures on a very large scale were ex- 
hibited at the British Institution (i) in 18x0, No. 43, 
Hebe feeding the Eagle of Jupiter 9 72 in* by 60 in,, and 
(2) in 1816, with an identical title, but much larger in 
size, viz,, 133 in. by 78 in. In the interval another 
Hebe was No. 30, at the Royal Academy of 1814. 

The Psyche of 1804, No* 15, is also the first of many 
versions, a writer in the MonMy Mirror* it may be 
pointed out, declared it to be ** too great an imitation 
of the colouring of Baroccio,"" It was engraved, ap- 
parently before it was exhibited, in stipple, by Caroline 
Watson (6 in. by 5 in.), on January 2, 1804, for Marsh 
and Dumford, and again later on by Greathead 
(2|in. by 2iin,)> Other Psyches appeared at the 

1798-1806 85 

British Institution, 1806, No. 50, 1824, No. 228 
(39 in. by 34 in.), and 1827, No. 2 (74m. by 60 in.), 
But one of the most charming of all was the work of 
the artist's later life, and was at the Academy of 1830, 
No. 40, with the title Psyche Returning from the Realms 
of Pluto, and the legend " Elle remonte enfin des enfers 
beaucoup plus gaie qu'elle n'y etoit allee ; " this is a 
whole-length figure in classical dress, with loose robes 
flowing behind back and waist ; she is barefooted and 
is running to right, holding in both hands the Box of 
Beauty. This was engraved by L. Stocks (3! in. by 3 in.) 
for Alaric Watts's *< Cabinet of Modern Art," 1836 (the 
plate is dated November, 1835), when the picture was 
the property of Watts. " The picture which accom- 
panies the present sketch, one of the most graceful 
compositions of the painter, was executed in 1829 from 
the well-known passages in the * Golden Ass of 
Apuleius." It represents the return of Psyche to earth 
with the Box of Beauty. The idea of the head was 
suggested by a daughter of Colonel George Wyndham 
during one of Sir William's visits to Petworth" 
(" Cabinet of Modern Art," pp. 104-5). 

Of the four other pictures which figured in the 1804 
Academy, A Lady and her Children, No. 22 ; A Lady, 
No. 65 ; A Gentleman, No. 74 ; and A Child Picking 
up Shells by the Seaside, No. in, nothing is so far 
known. In the Academy of the following year, 1805, 
he had seven exhibits, only one of which, An Officer in 
the Volunteers, No. 256, remains unidentified. The 
Bishap of Chester, No. 128, was Henry William Majendie 


(1754-1830), who was appointed to Chester in 1800 
and translated to Bangor in 1809; this portrait re- 
presents him standing, in full bishop's robes, holding a 
" mortar-board " hat in left hand ; it was engraved in 
mezzotint by Charles Turner in 1824. Another dis- 
tinguished pei-sonage of this year was James, first 
Marquess of Salisbury (1748-1823), whose portrait, 
No. 171, was a whole-length, life size, and shows him 
in the robes of the Garter, the George suspended from 
his collar, with horse galloping to right ; and the por- 
trait (now at Lord Salisbury^ town residence, 20 
Arlington Street) was engraved in mezzotint by W. 
Say, in 1803, and in stipple by E Scriven for Le Beau 
Monde, April i, 1808; it was lent to the South 
Kensington Exhibition, 1867, No. 859. Mrs. Spicer 
was No. 162. Miw Mefkm in ** The Honeymoon " was 
No, 178, which, from the price paid, vix,, 120 guineas, 
must have been a whole-length. The Hwwymoon was 
a comedy by Tobin, suggested by Shakespeare^ Taming 
of the Shrew > and of it three lines are worth quoting : 

" The man that lays his hand upon a woman, 
Save in the way of kindness, is a wretch 
Whom 'twere base flattery to call a coward/* 

The play was first produced on January 31, 1805 ? 
Miss Mellon (1775-1837), the beautiful actress who had 
been chased from her home by a virago of a mother, 
and was acting at thirty shillings a week, became 
successively the wife (in 1815) of Thomas Coutts, the 
banker, and (in 1827) of the ninth Duke of St. Albans. 


B\j permission of Messrs Dowdesiodl, ownm of me picture 

tfW t 

1798-1806 8/ 

In The Honeymoon she scored a triumph as Volante, 
one of the three daughters of Balthazar. This early 
portrait of her in character, when she was the " youthful, 
slim, and beautiful creature " described in the " Life 
of Charles Mathews," was one of Beechey^ great 
popular successes. " A fine coloured engraving of her 
in this character after a portrait of Sir Wm. 
Beechey, was brought out, and sold rapidly. . , . 
As the history of the painting above alluded to ... is 
somewhat curious we subjoin the account as given by 
Sir Wm. Beechey himself. An individual, whose 
daughter was much patronised by Miss Mellon, was 
employed by Sir William to furnish for his infant 
daughters some of those back- boards and collars which 
keep little heads upright while puzzling over their 
lessons ; and the value of these articles, which were 
delivered at different times, amounted to above fifteen 
pounds. On being asked for the account, however, the 
man hesitated, and hinted something of wishing for a 
picture in exchange ; and Sir William Beechey having 
always patronised him, said he would paint him any 
portrait he would select. The individual being too 
happy at procuring a sixty-guinea picture on such easy 
terms, begged it might be a likeness of his daughter's 
kind friend, Miss Mellon, as * Volante,"* which was 
accordingly done, and the picture given to him. In the 
course of a few years this person was in prison, without 
any pecuniary means ... A young picture-dealer, 
who pitied the extremity of distress to which the 
wretched man had reduced himself, suggested the possi- 


bility of (the now) Mrs. Coutts buying the portrait, if 
it came through other hands. The prisoner seized on 
the idea, consulting Sir William Beechey as to what 
he should demand for it. The latter advised them to 
name merely the sixty guineas which it would have 
cost if ordered. The picture-dealer had not the money, 
and Sir William advanced it to him, which saved the 
bandage-maker from starvation. When Mrs. Couttn 
returned to town, the portrait was offered to her by the 
picture-dealer, but as she had already four others by 
the same excellent artist * . . she declined the offer. 
Here, then, was the picture, originally given away by 
the painter, and now bought back again with his money. 
At length, when Mrs. Coutts understood the case, she 
purchased it. The picture dealer charged her seventy 
guineas. Some years afterwards, the same person being 
in some extra strait, wrote to his patron and supporter, 
Sir Wrcu Beechey, that the Matter had behaved in- 
famously to him, in advancing only sixty guineas for a 
picture which he had immediately resold to Mrn, 
Coutts for one thousand guineas ; and that unless he 
sent the applicant fifty pounds he would be shown up 
all over England through the press ! * This ungrateful 
falsehood, of course, met no answer,"" (Mrs, C. Barron- 
Wilson*s "Memoirs of Miss Mellon, afterwards 
Duchess of St. Albans," 1886, vol i. pp. S80, a &g.) 

Another portrait of Miss Mellon, when Mm, Coufctn, 
exhibited in 1818, will be mentioned in due course. 
To return, however, to the Academy of 1805, in which 
No. 216 was a portrait of u Mr. Penn * ; this w&g John 

1798-1806 89 

Perm (1760-1834), grandson of the famous William 
Perm, and is a whole length (93^ "by 57|in.)> in uniform 
(he was captain of the 4th, or Eton, troop of the South 
Regiment of Bucks Yeomanry), hessian boots, plumed 
hat held by right hand, and left hand on hilt of sword, 
a view of Stoke Park House, his residence, is seen in 
distance to right. A critic of the time says : " This 
picture is one of Sir William's best portraits : the like- 
ness is striking, the colouring clear, and the figure is 
well relieved from the background, which presents a 
view of Mr. Penn's house at Stoke." The portrait 
which is now the property of Mr. J. Merrick Head, of 
Pennsylvania Castle, Isle of Portland was engraved by 
R. Dunkarton and published on March 25, 1809, A 
" half-length portrait " of the Earl of St. Vincent, 
No. 184, was described, after that of Penn, as the 
artistes " next best, both in likeness and painting."" 

In 1806 a new gallery, the British Institution, was 
opened up for the special encouragement of British 
artists. The British Institution was not regarded 
as a rival of the Royal Academy, but it served an 
extremely useful supplementary purpose by exhibiting 
pictures by Royal Academicians and others which were 
not always up to the Academy level. The first exhibi- 
tion was opened on February I7 ; 1806, and nearly all 
the leading painters of the day were represented 
Beechey, Bone, Copley, Devis, Fuseli, H. Howard, 
Lawrence, Northcote, Opie, Owen, Rigaud,Paul Sandby, 
R. Smirk, Stothard, J. M. W. Turner, Benjamin West, 
Westall, and Nollekens, 257 works, including paintings, 


sculpture and enamels, were exhibited in all. The 
British Institution was also supported by the most 
powerful influence of the day, all the noblemen and 
distinguished personages of artistic tastes being sub* 
scribers. The gallery in Pall Mall had been erected by 
Alderman Boyclell to exhibit his famous Shakespeare 
Gallery, and after doing much good work in various 
ways the British Institution ceased to exist in 1867, 
when the lease of the premises expired. Beechey sent 
three pictures to the first exhibition, and continued to 
exhibit there, off and on, until 1836. His first three 
pictures were Psyche, Venm and Cupid, and A View near 

For some reason or other, not, it may be 
certain the opening of the British Institution, or the 
lack of suitable portraits, Beechey was not represented 
in the 1806 Academy, the first time for over twenty 
years. From 1776 to 1839 he had been absent from 
only three of the exhibitions, 1783, 1784, when he was 
in Norwich, and in 1806. There were other impox*tant 
abstentions in 1806, and among others Benjamin West, 
Farington, Flaxman, and Nollekens. 

Turning aside for a few moments from Sir William 
Beechey in particular to the Royal Academy in general, 
attention may be drawn to the fact that between the 
exhibitions of 1803 and 1804 the Council of the 
Academy found itself in one of those quarrels which 
seem to be inevitable whenever a committee is composed 
of strong-willed men, each of whom aspires to dominate 
the others. Beechey was a man of strong character, but 

1798-1806 9 1 

he was also a man of discretion ; although, in the various 
quarrels which took place in the Academy during his 
career, he took sides with the party which he considered 
to be in the right, he seems to have preferred taking a 
passive rather than an active part. His connection 
with the Court rendered this politic. There had been 
internal disputes all through the year 1803. The 
President, Benjamin West, was the object of frequent 
attacks in the newspapers and elsewhere. The quarrels 
of 1803 appear to have originated with reference to the 
government of the Academy, that is, as to the right of 
the Council to have the entire direction and manage- 
ment of all business of the Society "an attempt 
having been apparently made at the time to transfer 
the government from the Council to the General 
Assembly/' (William Sandby's "History of the Royal 
Academy ? i. 265.) On May 24 the Council passed 
two resolutions, denying that they were responsible 
either individually or collectively to the General 
Assembly for their proceedings in the Council, and 
begged the President to request His Majesty to express 
his sentiments on the subject for the future guidance 
of the Royal Academy. These resolutions were passed 
by a majority of the Council, but the subsequent meet- 
ing to confirm these resolutions was postponed by the 
President, and instead of it a General Assembly con- 
vened, who passed on May 30 a resolution involving, 
among other things, " a further consideration of the 
proceedings of May 24. This proposition was moved 
by G. Dance and carried, but was opposed by Wilton, 


Rigaud, P. Sandby, Tresham, Cosway, De Louther- 
bourg, and Beechey, besides five members (Copley, 
Wyatt, Yenn, Soane, and Bourgeois), who, for reasons 
into which we need not enter, it was proposed to 
suspend." The suspended members of the Council 
appealed to the King, and in August two addresses 
were presented from the General Assembly counter to 
each other the one from the majority, the other from 
the minority. (Sandby, ** History of the Royal 
Academy," i. 266.) The King's decision was briefly 
this he disapproved the conduct of the General 
Assembly in censuring and suspending the five members 
of the Council, and directed that all matters relative 
to these proceedings should be expunged from the 
minutes of the Royal Academy. But these decisions 
did not restore harmony. Among the Beechey papers 
in the possession of the artist's great-grandson, Mr, 
Ernest A. Beechey, there are two long and exceedingly 
interesting letters (presumably unpublished) to Sir 
William Beechey from J. P. Rigaud, which give a 
vivid picture of the events which transpired later on 
in the year Rigaud refers to a letter of his written 
on November 30, but this has not been discovered. 
The Rigaud letters are as follows : 

** LONDON, December 2, 1803. 

" DEAR Sm WILLIAM, I shall begin my account of 
what passes in the Royal Academy where I left off 
the 3Oth ult. I told you then that there had been a 
Council the evening before, to determine upon subjects 


1798-1806 93 

for the students' sketches and other business, and that 
I had that moment received a letter acquainting me 
that the meeting of the Academicians to judge of the 
performances was postponed. But I was unacquainted 
with the motives, and of what had passed in that 
Council. I have learned since that the evening passed 
in debates on the President refusing to sign the minutes 
of the preceding meeting, because they went to per- 
petuate on the records the resolution of May 24, which 
he said ought to be expunged. No business was done^ 
and they broke up at one o^clock. Last night I at- 
tended the general meeting to receive the Address and 
thanks voted to His Majesty, and prepared by the 
Committee. I had the pleasure of seeing Mr. Wyatt 
among us for the first time since the suspension. After 
some unnecessary delay and disagreeable altercation in 
which I took no part, the Address was called for on all 
sides, and Mr. Lawrence got up and said that he had 
been commissioned by the Committee to present and 
read the Address, which he did. It was couched in so 
able a manner, in such appropriate and respectful 
terms, that it received unanimous approbation by a 
show of hands. It was then proposed that it should 
be presented by the President, attended by the Secretary. 
The Treasurer was left out, which brought on a debate, 
and at last his name was added to the others. The 
address was then signed by the President and the 
members present without any order, either of seniority 
or rank in the Academy, as we waived any occasion of 
dispute. So far everything passed tolerably quiet, if I 


except a few sharp words between Mr* Copley and 
Mr. Shee, in which Mr, Wyatt took a part, and was 
very unhandsomely rebuked by our opponents. 

" We thought the business of the evening over ; but 
it was not so. Mr. Farington got up with a string of 
resolutions in his hand, which he read, and proposed 
should be passed and carried to His Majesty with the 
Address. They contained a history of the proceedings 
from the beginning of our disputes, exculpating them- 
selves anew, nay, endeavouring to prove that they had 
acted right, particularly in regard to the vote of 500 
to Lloyds ; supporting those sophisms by a precedent, 
and quoted from the books of the Academy a similar 
vote to the Bank for the services of the war Rome years 
ago, said to have been moved by Mr* Wyatt ; and that in 
the late instance, the Council being suspended, they had 
aright to vote the money, and to carry that vote up to 
His Majesty for approbation. 

" Poor Tresham, who was almost sinking under a very 
severe illness and bodily pain, rose up indignant, and 
endeavoured to show them the absurdity of beginning the 
controversy again, Mr* Wyatt supported him, and 
said that it was indecent to go to His Majesty with an 
address of thanks in one hand and a vote of censure in 
the other. Having said so much, and without waiting 
for any reply, he went out of the room. I followed 
him, and so did the whole of our party, a glorious 
minority, consisting of seven, viz*, Wyatt, Bourgeois, 
Treshatn, Soane, Copley, Yenn, and Rigaud. We went 
to the next coffee-house and spent the evening together, 


There is a Council called for this evening to receive the 
recommendations for charitable purposes. If I can 
get some intelligence to-morrow morning I will re- 
assume my pen." 

"December 5. 

" I breakfasted with Mr. Yenn on Saturday morning, 
but could not write till now. The Council on Friday 
evening passed, as the other two had done, without any 
business at all ; but was extremely tumultuous, if I may 
be allowed the expression. The President said that he 
was ready to sign the minutes of the last Council, and to 
proceed to business ; but when the book was opened and 
presented to him, it was perceived by our friends that the 
minute which they had voted should remain in the book 
was erased. All the indignant passions were excited, 
and I am soi'ry to say, a great deal of invectives ensued. 
The matter was sifted, and it was found out that the 
books had been cai*ried down to the general meeting 
the evening before, after we had left it, and there 
blotted out. Nay, it was also found out that the books 
of the Council had been carried out of the Academy and 
sent to the President's, who had them several days in 
his possession since we had had His Majesty's most 
paternal communication. 

" Yesterday morning was fixed upon to present the 
address of thanks to His Majesty at Windsor. Messrs. 
West, Richards, and Yenn were to set off at three o'clock 
on Saturday afternoon for that purpose. I believe they 
went, and that the President meant to deliver at the 
same time into the King's hands those resolutions which 


Mr. Farington had moved, but of this I know nothing for 
certain. Mr.Yenn,however,decIaredtothePresidentthat 
he thought himself bound in duty to inform His Majesty 
of everything that had passed. It will be some days 
before I know the result of that trip to Windsor, 
because Mr* Yerm told me that he had business at 
Greenwich early this morning, and did not know when 
he should be back, and as for Richards, I cannot trust 
him any more ; but as soon as I know anything I shall 
communicate it to you. In the meantime I must beg 
the favour of you not to pai't with these scrawls of mine, 
because they will serve to refresh my memory as to 
what I have been a witness to, in case it should become 

" In regard to my prospect of success in the election 
of a Keeper, I have nothing new to say ; it will depend 
entirely on my friends being steady, and upon their 
endeavours to procure me some additional votes, as well 
as upon their actual presence at the time. I hope they 
will not forsake me. The day is not yet fixed, nor any 
notice taken of it, except by the candidates, who are 
indefatigable in their canvass* I have received a letter 
from Mr. Gilpin acquainting me that he might be 
induced to give me his ball in case his friend (whom he 
does not name) should not come upon the ballot His 
address is at Mr* Whitbread, M.P., Southill, near 

" Be assured of my sincere affection, 

"J. P. 

Collection A. 

Buckingham Palace 

1798-1806 97 

If LONDON, December 12, 1803. 

" DEAR SIR WILLIAM^ I am obliged to you for your 
letter, and without any preamble I shall go on with 
the account of what has passed in the Royal Academy. 
I believe I have already informed you that an address 
of thanks had been prepared and signed by us all, and 
that there was a string of resolutions to be passed after 
we had left the room, and that Mr. Yenn had declared 
in the Council that he considered it his duty to acquaint 
His Majesty of everything that had passed. Accord- 
ingly, when the day was fixed to go to Windsor (Sunday, 
December 4) with the Address, he contrived to be 
admitted a few hours before them and laid the matter 
before the King. Then comes the President, Secretary 
and Treasurer in due form and present the Address. 
The King received it with great marks of approbation. 
After that Mr. West begged that His Majesty would 
condescend to receive a paper which he held in his 
hand, and had been voted to be presented to him with 
the address. The King turned to the Treasurer and 
Secretary and asked when that paper had been voted ? 
That he did not know of any other business that night 
but the voting the address. The Treasurer confessed 
that he had heard it read, but was not present when 
it passed, because himself as well as several other 
members had left the room thinking the business of the 
evening over, and not approving bhe contents of the 
paper intended to be passed by vote ; but he could not 
tell whether that was the same paper. The King told 
the President that he could not receive that paper as 


coming from the Academy. The President begged 
very hard that he would receive it ; if not as official, he 
would condescend to receive it as a private paper 
conveying some material information. The King then 
said he would receive it as a private paper, and they 
would hear from him in a few days. Accordingly, on 
the Wednesday following he sent for the Treasurer to 
Buckingham House and gave him a sealed paper to 
deliver to the Secretary with his command to read it at 
the next general meeting, which was to be the loth, the 
day appointed for the election of the Officers. The meet- 
ing took place accordingly, and after a few altercations 
concerning some mistakes, want of order and blunders, 
the President declared that the address had been re- 
ceived with marks of approbation, but he had nothing 
further to communicate, m His Majesty chiefly addressed 
himself to the Secretary* Mr. Richards upon that 
drew a paper from hi pocket, which he read. It was 
signed by the King both at top and bottom. It 
enforced the former paper communicated to us some time 
ago and of which I have given you an account* It ex- 
plained it in every part* He disapproves in strong 
terms of the content** of the paper which had been 
pi-escnted to him with the address ; and to restore 
harmony among us he denires that it may be obliterated 
from GUI* memory* He commands that the minutes of 
the Council, vix., that of May 24, and another which 
had been scratched out, be reinserted ; and orders that 
this paper be inscribed in the minutes of the Council 
fpr tuture rule of Conduct, as the other was to be 

1798-1806 99 

inserted in the minutes of the general meeting. A 
dead silence was the effect produced by the reading of 
that paper, and many faces were lengthened. We 
passed to the business of the evening without speeches. 
The President was re-elected and the Visitors chosen. 
As usual of late I was left out. There was some con- 
versation passed about Mr. Zoffany being of the Council 
as the rotation imports ; but his living above six miles 
from Somerset House was said to be an objection by 
law, and he was left out. The Council for the next 
year stands thus : Turner, Soane, Rossi, Bourgeois, De 
Loutherbourg, Smirke, Farington, Dance. So that the 
whole power of the Academy stands now with them 
and the next year's rotation will still strengthen them. 
They will have an ample field for consolidating their 
plan, whatever it may be, and it will be found out that 
by doing our duty we have put arms in their hands to 
chastise any of us, who have the impudence to oppose 
them in their assumed authority before it devolved to 
them by law. The office of Keeper not being annual, 
there is no particular day fixed by law for the Election. 
It is generally done as soon as possible after the vacancy 
is declared, but it requires, I believe, one month's notice 
to the Academicians to offer themselves for candidates, 
and then a week's notice of the day of election, with 
the names of the candidates inserted in the notice. No 
mention was made of it in the general meeting of last 
Saturday, so that I am in great hopes you will be in 
town. I shall at any rate give you the earliest infor- 
mation. Your vote and interest is very material to 


me. I am sorry to hear you say that you have no 
friends in the Academy that are not mine, because, 
though it is flattering to me, it reduces the number 
very low. However, I have still some hopes, and I 
shall not give up the contest ; I think I stand upon 
very firm ground. My enemies are divided, and very 
warmly so, Farington is for Smirke, but I think he 
loses ground, and likely to lose more by the rebuke 
his friends must now feel that they have received. 
Opie is for Fuseli, and Mrs. Opie goes about canvassing 
for him, and says that they will never vote for Smirke, 
Banks has a few friends. Mrs.Forster goes about to whine 
for him, and some intimates of Glorne Tooch [? Home 
Tooke] employ themselves also in his favour. This will 
greatly divide the votes in the first Instance, I have 
eleven undoubted ones, and an addition of three in 
the second ballot, which makes nineteen [? fourteen], 
P, Sandby has received a letter from Mr. Gilpin, who 
promises him his second vote for me, if the person he 
is engaged for in the first instance does not come upon 
the ballot. Several more may be induced to do the 
same, particularly if they should happen to change 
their opinion in regard to their leader. Excuse the 
hurry in which the above is written and believe me, 

** Yours sincerely 

"J. F, BIOATO." 

Other quarrels again broke out, and in 1805 one of 
these had reached a crisis. w The difference^** says one 
of the papers of the period (Colnaghi Collection of 

y permission of Mrs. F. A. HopUm 


Newspaper Extracts), " which have for a long time pre- 
vailed among the members of this Institution [Royal 
Academy], have been much lamented by every friend to 
the Arts, and more particularly by those who are 
acquainted with the respective parties. But the regret 
arising from these differences is aggravated by the con- 
sideration that they are not likely to subside, as the 
supporters of both sides of the question are animated 
by so firm a conviction of the justness of their cause as 
to preclude all hope of an amicable accommodation. 
At length Mr. West, finding the duties of the Presi- 
dentship too arduous and perplexing, amidst the con- 
flicts of party, has been induced to resign his office." 
West was the last survivor of the four artists who, in 
17685 presented his Majesty with a plan for an 
Academy ; and, in a letter " To the General Assembly of 
Academicians of the Royal Academy/' dated Decem- 
ber 2, 1805, he signified his determination to resign ; 
Wyatt acted for a time as President-Elect, but in 1806 
West was persuaded to again take over the duties ; 
" the only dissenting voice was that of Fuseli, who, in 
his usual sarcastic manner, admitted that he had voted 
for Mrs. Moser, as he thought one old woman as good 
as another ! " (Sandby's " History of the Royal 
Academy of Arts," vol. i. p. 268.) 

The long " reports " in the form of letters from 
Rigaud to Beechey, quoted above, are explained by the 
fact that the latter was away from London on a visit to 
the Earl of Egremont at Petworth. Fuseli was at the 
time a candidate for the post of Keeper of the Royal 


Academy, and he appears to have solicited Sir William 
Beechey's interest on his behalf. The following letter 
(to which it is only necessary to add that Fuseli was 
elected to the post in question in 1804) was addressed 
by Fuseli to Beechey at Petworth : 

" LONDON, December 13, 1803." 

" Nothing but my absence when Sir W. Beechey's 
letter arrived could prevent my immediate acknowledg- 
ment : its generous contents still add to the obligations 
of the first, and but for the awkwardness of a situation 
which gives to expressions of that kind always a 
suspicious air, would command the most emphatic 
expressions of gratitude. But I should be false to 
myself and unworthy of Sir William's generous though 
conditional offers, if I did not endeavour to make them 
as effectual as possible. Yes ; it is in his power, or I 
am much mistaken, essentially to promote my career, 
by recommending it, in case I should clash with his 
candidate, to his friends. Who they are, or whom of 
them Sir William's word might influence, it becomes 
not me to say, unless I might be allowed to hint that 
with Messrs. Sandby, Tresham and Wyatt, his favour- 
able opinion might give me an interest which I cannot 
pretend to myself. Such, sir, ai*e the bold wishes you 
have permitted me to form ; if they are improper you 
will discountenance them. But be that as it may, 
permit me to subscribe myself unalterably and with the 
highest esteem, your most obliged and faithful servant, 

" H. 

1798-1806 103 

" When the election shall come on, or why it be post- 
poned, unless it be on account of several absentees 
among the members, I am not competent to tell. 

An interesting and apparently unexhibited portrait 
of 18067 ma y ^ e mentioned here, a Bishop's half- 
length of Vice- Admiral Sir Samuel Hood (1762-1814), 
the distinguished naval hero, knighted in 1804, who 
reduced Madeira in 1807, was second in command 
under Saumarez in the Baltic 1808, created a baronet 
1809, vice-admiral 18 n, commanded in the East Indies 
1812-14, and died at Madras. This portrait, although 
paid for by Lady Hood, was painted for the Earl of 
St. Vincent, and was engraved in stipple by E. Bocquet, 
8 in. by 8 in., and published May 10, 1813, by Cadell 
and Davis. It shows him to half -figure, directed to 
front and looking to right, in uniform, without hat, 
left hand apparently resting on hilt of sword. 



BEECHEY had eight portraits in the Academy of 1807. 
The most interesting of these was perhaps No* 48, the 
Earl of St. Vincent, of whom, as we have seen, a half- 
length was in the Academy of 1805. A long series of 
the portraits of naval heroes followed rapidly the 
painter's successful picture of Nffteon (r 80 1). All the 
captains present at the battle of the Nile were painted 
for the Earl of St. Vincent ; and finally a picture of the 
Earl himself, which deserves to rank with the most suc- 
cessful productions of the artist* ** A duplicate of this 
picture, which was, if we mistake not, painted several 
times, is still in Sir William's Gallery, in Harley Street. 
It was lately brought into juxtaposition at the Exhi- 
bition of the Society of British Artists with some of 
Sir Joshua's finest works, without the injury which most 
modern painters would have sustained from so invidious 
a comparison" ("Cabinet of British Art," p, 102). 
Both the 1805 and 1807 portraits of St. Vincent may 
have been done some time before this public exhibition. 
There can, indeed, be no doubt about Beechey having 
painted a portrait of St. Vincent some years before, as 
one is named in a list given in ** Public Characters 

1807-1817 105 

iSoo-i," p. 353 but whether the portrait there men- 
tioned is either of the exhibited pictures or another 
it is impossible to say. It is stated that the portrait of 
the Earl, exhibited at the Guelph Exhibition, 1891, by 
the Corporation of the City of London, three-quarter 
length, life size, in naval uniform, with Ribbon and Star 
of the Bath, upraised sword in right hand, left resting 
on a cannon (canvas 55 in. by 46 in.), was presented to 
the Corporation by Alderman John Boydell* in 1793. 
Another Beechey portrait of the Earl is the property 
of the Fishmongers' Company (lent to the Naval 
Exhibition 1891, No. 375, and again to the Naval 
Exhibition, EarFs Court, 1904, No. 316); and yet 
another was the property of Admiral Sir William Parker, 
and was lent to the last-named exhibition by Lady 
Parker, No. 379: it shows him to waist, directed to 
front, looking to left, in uniform, with Star, Order, and 
sash (canvas about 30 in by 24 in.). This was engraved 
for J. S. Tucker's "Life," 1844. At least three dif- 
ferent portraits of the Earl have been engraved : (i) for 
Cadell and Co., March I, 1809, " from the original in 
Sir W. Beechey's possession, in civilian's dress, with Star 
of an Order, profile, directed and looking to right, grey 

* Boydell was a generous benefactor to the Gallery of the 
Corporation of London, and in 1800 a whole-length portrait of the 
alderman at a cost of 200 guineas was commissioned from Beechey 
by the City authorities ; it is now at the Guildhall. A small whole- 
length of Boydell, also by Beechey, in alderman's gown (canvas 
2ofxi6f), was bequeathed to the National Portrait Gallery in 
November 1892 by Mr. Henry Graves, whose firm carries on the 
business of print dealers and publishers established by Boydell in 
the eighteenth century. 


hair; (2) in mezzotint by Charles Turner, 22|-in. by 
i6Jin., November n, 18x6, whole length, standing, 
directed to front, in peer's robes, holding sword in left 
hand, in right a scroll inscribed Naval Abuse Bill, on 
table to left folio volumes and globe, warships in dis- 
tance. The original of this engraving was lent to the 
Naval Exhibition, EarPs Court, 1904, No. 381, by the 
Lady Harris, C.I. The Fishmongers'* portrait above 
mentioned, is obviously a version of Lady Harrises pic- 
ture, but differs slightly in details ; e.g., instead of the 
warships in the distance to left, that portion of the 
picture is filled up with a view of a classical statue, 
probably Hercules ; and (3) in stipple, from Admiral 
Parker's picture, already mentioned, by G. Cook 
(4 Jin. by 3iin.), in an oval, directed to front and 
looking to left, in uniform, 1844, and again in 1851, 
There are many other portraits of the Earl by Beechey 
in existence* One was lent to the South Kensington 
Exhibition in 1868, No. 76, by the Rev. St. Vincent 
Beechey, a bust, profile to right, in black coat, with 
ribbon of the Order of the Bath (canvas 30 in, by 25 in,), 
" believed to have been painted when he [Beechey] was 
upwards of eighty." This is stated to have been pre- 
sented or bequeathed by the Earl to his godson, the 
above-mentioned Rev. St. Vincent Beechey . A replica was 
in the Beechey sale at Christie's, June n, 1836, lot 55 
(erroneously catalogued as Lord Nelson) , and bought in 
at 10^- guineas. Another was lent to the Naval and 
Military Exhibition, Edinburgh, 1889, by Mr. W. E. 
Malcolm, of Burncoat ; and another, in uniform, oval, 

By permission of the Executors of the late W. L. J&lktns, Esfa Philadelphia 

1807-1817 107 

the property of Mr, John Corbett, of Impney, Droit- 
wich, was at Christie's on June 18, 1904. Bone exhi- 
bited an enamel copy of one of Beechey's portraits of 
the Earl at the Royal Academy of 1810, No. 653. 

Beechey's portrait ofH.R.H. the Duke of Gloucester 
figured as No. 93 in the Academy of 1807. The duke, 
like the Earl of St. Vincent and several other sitters, 
must have been a profitable source of income to the 
artist. Beechey exhibited four portraits of him at the 
Academy, 1807, 1812, 1819, and 1825. As William 
Henry, the first duke, died in 1805, these would all be 
of William Frederick, second and last Duke of Glouces- 
ter (1776-1834). But Beechey also painted the tirst 
duke more than once ; one of these, a full three-quarter 
length, in uniform with decorations, sword under left 
arm, map in hand, was engraved under the title of 
H.R.H. Prince William Frederick of Gloucester, in 
mezzotint, by T. Hardy, July I, 1802 (this, or a replica 
of it, was at Christie*^ on July 26, 1902, lot 29), and 
another, in uniform wearing the Star of the Garter, a 
very indifferent picture, was in the Duke of Cambridge's 
sale of 1904, when it realised 21 guineas. We find from 
an entry in the Account Books under date April 9, 1808, 
that two whole lengths of both dukes were commissioned 
by (or for) the Committee of the London Hospital ; and 
it is doubtless that of the second duke which figured in 
the 1808 Academy. The Mrs. Bates, No. 8, of this 
year has not been identified beyond her name. Sir J. 
Earle, who figured under 37, was the eminent surgeon 
(17551817), who wrote many books on medical science, 


and who lived in Hanover Square ; he was president 
of the Royal College of Surgeons, and was knighted in 
1802. This portrait was engraved in mezzotint by 
R. Dunkarton, March io> 1810, and shows him to 
waist, in plain coat and frill, curtain in background, 
with medical books to left. The Counter ofBreadal- 
bane. No. 107, was Mary Turner, daughter and co-heir 
of David Gavin, of Langton, and was married to the 
fourth earl (afterwards first marquis) on September 3, 
1793 ; she died in 1845, The ChU&ren <)f Mrs. Phipps, 
No, 170, and Mrs. Langky 9 No. 182, probably a three- 
quarters, conclude tho Beechey exhibits of 1807. 

Of the six portraits of 1 808,* three remain anonymous. 
The most important of the others was one of several 
portraits of Adolphus Frederick, Duke of Cambridge 
(1774-1850); it was done for the u Committee of the 
Asylum." From the price entered in the Account Book, 
1808, this portrait was a three-quarters ; one copy of it 
was done at the same time for the Duchess of York, 
for whom a second copy was made in 18x1. This 
portrait of the Academy of 1808 is that which was 
engraved in stipple by W. Skelton, Dec. 1808 (the 
engraving is of a half figure). The late Duke lent a 
whole-length Hfe-sixe portrait (canvas 94 in, by 57 in.) 
of his father facing, head to right, right arm resting 

* " Sir William Beechey, 1 * observes a writer in one of the news- 
papers, " enriches the collection with several portraits in his most 
finished and animated manner. The Countess of Ormond, Lord 
Mulgrave, and his Royal Highness the Duk of Cambridge are 
striking likenesses, but the whole are in his highest style of 

1807-1817 log 

on an ermine mantle on pedestal, left hand holding 
dress to the Victorian Exhibition of 1891-2, No. 109, 
and this is doubtless the portrait which was at the 
Academy of 1819. It was not included in the Duke of 
Cambridge's sale in June 1904, where, however, there 
were two small ones, both unimportant ; one of these 
was at South Kensington in 1868, and at the Guelph 
Exhibition 1891, and this went for 55 guineas, the 
other only realised 25 guineas ; both were half figures 
in dark coats, and measured 29^- in. by 24 in. The 
portrait, a three-quarters, of Lord Mulgrave, No. 57, 
an officer in the Army and Governor of Scarborough, 
was engraved before it went to the Academy, as 
William Skelton's rendering of it was published on May 
4th, 1808, whilst it was on the walls of the Academy. 
According to Neale's " Views " (vol. ii,) this portrait 
was the property of Sir George H. Beaumont, and 
hung at his residence, Cole Orton Hall, Leicestershire. 
The Lady of Quality, No. 68, has been identified as 
a whole length of the Countess of Ormonde, Anne, 
daughter and heir of Joseph Hart Pryce Clarke, wife of 
the eighteenth Earl and first Marquess of Ormonde, 
whom she married in 1805 ; one of the critics of the day 
pronounced the likeness u successful, but as to the rest 
we must exclaim * there is canvas to let.' Sir William 
seems lost when he goes beyond a half length," and 
further, that the artist's style is " flimsy and undecided, " 
and reminding him (the critic) of what Sir Joshua said 
of one of Gainsborough's portraits, ** very much like the 
dream of a 


Reverting for a moment to the British Institution, 
we find that Beechey was represented at both winter 
exhibitions of 1807 and 1808. Of the two in the 
earlier year, one was a fancy piece, Bravery and 
Humanity (38 in. by 33 in.); the motive of the 
picture is sufficiently told in the words which appeared 
in the Catalogue: "In the first expedition of the 
British troops to Flanders, in the late war, the French 
had pillaged a cottage and left its miserable inhabitants 
without bread, telling them they ought to think them- 
selves very well off, for the English were coming, and 
would not only rob, but murder them. A party of the 
Guards arrived soon after, and, on learning the treat- 
ment they had xxsceived, pulled off their haversacks and 
supplied them with what provisions they could spared 
The second picture was the study of An Old Maafs Head^ 
which the Director, edited by T. F. Dibdin, declared 
to be " one of the most spirited and pleasing of his per- 
formances, 1 ' and which, it may be added, was purchased 
by the Marquis of Stafford* In the following year there 
were Rustic Rurrmmtmg^ 15 by 12 inches, two views at 
or near Southend, EBSCX, a view of I-eigh from the 
hamlet of Prittlewcll, Essex* all about 25 inches by 32 
inches, and a larger picture of a Monk at his Devotions. 

Quite the most important, or, at all events, the most 
interesting of the eight pictures in the 1809 Academy 
was that of Mr. Wilkw^ No. 93, This was the young 
Scotch artist, David Wilkie, who had come i up to 
London and entered the Royal Academy school ill 1805, 
and whose pictures of 2% VUlage PoSticiwu t the 

1807-1817 III 

Academy 1806, The Bli*nd Fiddler in 1807, and The 
Rent Day of the Academy in which his portrait by 
Beechey appeared, had created so much sensation. This 
portrait shows him to three-quarter length, holding 
brushes and palette, with a sketch of The Blind Fiddler 
behind; it was engraved by John Young, January I, 
1810, and again by H. Robinson for Jerdan^s " Portrait 
Gallery," 1830-45 (vol. v.). It was apparently done as 
a gift to the young artist, and was in Wilkie's sale at 
Christie's, 1860, when it realised 32 guineas, the 
purchaser being Mrs. Hunter ; it was bequeathed to the 
National Gallery of Scotland by Dr. Hunter, of 
Woodbank, near Largs. Whilst this portrait was in 
hand, Wilkie records in his " Journal " a visit which he 
paid to Beechey on Twelfth Night, 1809 ; We had " 
(he says) " a very splendid entertainment. I there met 
for the first time the too celebrated Lady Hamilton. 
She had with her a girl supposed to be the daughter of 
Lord Nelson, a creature of great sweetness. . . . Lady 
Hamilton is lusty and tall, and of fascinating manners, 
but her features are bold and masculine. Her daugh- 
ter's name is Horatia Hamilton. After supper we were 
entertained by some songs from Lady Hamilton. 1 " 
Benjamin R. Haydon, the historical painter, makes an 
interesting reference in his voluminous " Journals " to 
this portrait. Writing in 1808 he says (" Autobiography 
and Journals," 1853, i. 91-2): "Wilkie breakfasted 
with me, and away we went to Sir William Beechey, to 
get his vote for Charles Bell as professor of anatomy. 
Sir William m$de \Yillcie sit for his head : while this 


was performing, I went to call on Smirke, and left 
Wilkie to break the matter to Sir William ; came back 
and found it as hopeless with him as with Smirked 

Of Mrs, Leeds, No. 18, we know nothing, except that 
the portrait was a whole length; the picture, Mrs. 
cuid Miss Wcthercll, No. 62, is thus described by one of 
the critics : " This is one of the most pleasing pictures 
which this artist has ever produced. There is a peculiar 
softness, a kind of feminine grace and elegance in the 
composition which* without any effort or seeming labour, 
fixes our attention and justifies our fullest admiration. 
The background, the opening perspective, the decorations 
of the work table, the employment of the two ladies, 
the agreeable complacency of the countenance, their 
feminine industry in a word, every part of the compo- 
sition, drawing, colour and general effect, does high 
honour to the taste of Sir William Beechey . ... we 
will venture to assert that Sir William Beechey succeeds 
better in the female figure than any painter of the day " 
(The Afe#aenffer, May 1809). Another paper described 
this as the best of Beechey 1 exhibits of the year. It 
should be pointed out that Mr* Graves describes this as 
a picture of Mrs* and MISH Cockerel!, Two persons of 
the same name, Charles Wetherell, are given by Boyle 
as residing in this year in Lincoln's Inn, one at No. 3, 
Lincoln's Inn, Old Buildings, and the other at No. 5, 
Stone Buildings, but there i$ nothing to associate them 
with this portrait ; on the other hand, the two ladies 
may have been the wife and daughter of General 
Wetherell, who sat for his portrait to Beechey in 1816; 

1807-1817 U3 

and the same or another daughter of the General, sat to 
Beechey in 1825. 

Lord Gambier, No. 71, was the famous Admiral 
( r 556-i833) who distinguished himself in various naval 
battles and was raised to the peerage in 1808 ; this 
portrait, a bust, in naVal uniform (canvas 30 in. by 25 in.), 
was engraved, prior to its exhibition, in mezzotint by 
George Clint and was published on September 2, 1808 ; 
it was again engraved by " G " Bartolozzi on February 
12, 1810, in "The British Gallery of Contemporary 
Portraits/' and once more by W. Holl in Jerdan's 
"Portrait Gallery " in 1833 ; the original portrait was 
lent to South Kensington in 1868 by Admiral Gambier. 
The Mr. Gambier of the same year, No. 147, is dealt 
with in connection with the Gambier portrait in the 
1814 Academy. As will be seen from the Account 
Books, Beechey painted four Gambier portraits from 
1808 to 1813. 

The Nobleman and the Lady of Quality, Nos. 82 and 
126, were respectively Howe Peter, second Marquess of 
Sligo, who succeeded his father on January 2, 1809 (he 
was born on May 18, 1788 and died in 1845) and his 
mother, Lady Louisa, daughter of Richard Earl Howe ; 
she afterwards married Sir William Scott, Lord Stowell, 
and died in 1817. The portrait of the Marquess is an 
exceedingly fine whole-length, in which he is represented 
standing in a landscape directed to front and looking 
to his left, wearing a black coat with gold buttons, 
white cravat, white breeches and stockings, in college 
gown, and black cap which is held in right hand ; in the 


background is a building, probably Trinity College, 
Cambridge. This portrait is at Westport House, co. 
Mayo, the seat of the Marquess of Sligo, by whose 
permission it is here reproduced. The portrait of 
the Marchioness was a half-length. "We cannot," 
says the critic of The Mcsttcngcr already quoted," speak 
as to the justness of the resemblance, but we will 
undertake to pronounce that it ivS a work which deserves 
to rank very high in art. The dress of the portrait 
has been happily chosen for its picturesque effect it is 
a custom which comes in, we believe, between the era 
of Hans Holbein and Vandyck it was a dress invented 
by the painters in the reign of James the First. This 
portrait is very highly finished throughout and does 
great credit to the artist*" The dress indeed seems 
to have pimled the critics, one of whom described 
it as that of Mary Queen of Scots. Unfortunately 
this portrait is not now at Westport, and it is pre- 
sumed to have been destroyed when the Library at 
Westport was burnt out in 1825, but (assuming that the 
original was destroyed) there are probably two replicas 
of it, as in Beechey's Account Book under date May 
22, 1818, we find that ho received of " Curzon," 
payment for two copies of the Lady SHgo portrait. 
The Earl of Altamount thinks that the ** Cursson " of 
this entry was the Hon. Mrs. Penn A&shetcm Curzon, 
Lady Sligo's eldest sister, and that the present Earl 
Howe very probably has both replicas. 

The remaining portrait of this year was of John 
Ansley, a successful London merchant, a member of the 


firm of Ansley, Lambert and Co., of 52 Bread Street ; 
he was elected Alderman of the Bread Street ward, and 
served as Lord Mayor in 1807-8, at the unusually early 
age of thirty-two (he was born on July 9, 1775). 
It was during his mayoralty that the City petitioned 
both Houses of Parliament for the abolition of sinecure 
places and pensions, and for Parliamentary reform, 
and perhaps it was because of these petitions that he 
received neither a baronetcy nor a knighthood. He 
represented Bread Street ward until about 1830, when 
he became the Father of the City of London. He died 
at Paignton, Devon, on September 23, 1845. The 
portrait was probably what is known as a " three- 
quarters " (i.e., 30 in. by 25 in.) and still belongs to a 
descendant, whilst a copy of it has been made in recent 
years for another member of the family. 

The most imposing of the 1810 exhibits was the 
portrait of the Persian Ambassador, No. 42, Mirza-ab-ul- 
Hassan, Envoy Extraordinary from the King of Persia 
to England in 1809, and again in 1818. It is a whole 
length, standing, one hand upon the hilt of his sword, 
the other resting on a folded document which lies on a 
red-covered table to his right ; full robe richly brocaded 
with gold and reaching to the ankles, red stockings, 
green morocco shoes, a high turban, a sash, and a 
sleeveless outer garment of silk and fur, which comes 
down to the knees, complete the costume ; behind the 
right of a column is seen a sunset sky. (Canvas 93 in. 
by 57 in.) It was painted for the East India Company, 
and was paid for on August 7, 1810, by William Amtell, 


M.P., a director of that company, the price being 250 
guineas. It is now in the India Office (see W. Foster's 
*' Descriptive Catalogue of the Paintings, etc., in the 
India Office/' 1906, pp. 16-17), where some interesting 
particulars of this personage are given. Beechey painted 
and exhibited two portraits of the Persian Ambassador, 
whose two visits to England were the sensations of the 
time. The original is without doubt that now in the 
India Office, exhibited at the Royal Academy in 1810. 
In the exhibition of the following year another portrait 
by the same artist was No. 99 ; this doubtless was the 
half-length which was in the Beechey sale at Christie's, 
June ii, 1836, lot 60, when it was bought in at 31 
guineas. It reappeared in the Beechey sale at RainyX 
July 19, 1839, lot 28, and then realised 2 I2S - 
Another Beechey portrait of this year of which we 
know the identity was No. 113 : Mrs. Dickons as Mar* 
garita t in a musical entertainment called ** No Song, No 
Supper," written by Prince Hoare and first produced 
at Drury Lane in 1790, with music by Storace. Mrs. 
Maria Dickons (n(e Poole) was born about 1770, made 
her dtbut at Covent Garden as Ophelia in 1793, and 
played in many important parts up to nearly the time 
of her death in 1833. No* 2 1 , Portraits of a Gentleman 
and hi$ Children, was, there can be very little doubt, the 
Myers family group for which Beechey received two 
payments of 120 guineas on May 18 and October 4, 

Although five of Beechey*s exhibits of this year re- 
main anonymous, we have at all events the satisfaction 


From " Fasti Etomenses " By permission of Messrs. Spottiswoode $ Co ,Ltd 
Eton College 


of having exhumed a general notice of his works in this 
year's Academy. A writer in one of the newspapers 
says : " Sir W, Beechey^ colouring is gay ; he is less 
vigorous in his marking, and in his style altogether, 
than his contemporary portrait painters of distinction : 
he is therefore not among the best painters of men ; but 
his effeminacy of style, or rather his delicate graceful- 
ness of attitude, his richness of colour, the soft tones of 
his flesh, and the elegant disposition of his draperies, all 
so conspicuous in Nos. 72 and 147, render him the ladies' 
Apelles." Three distinguished artists had died in the 
interval between the 1809 and 1810 Academies, John 
Hoppner, Paul Sandby, and Ozias Humphry. F. Bar- 
tolozzi, too, was no longer a member. Two of these, 
Sandby and Bartolozzi, were Foundation members of the 
Royal Academy, and of the original body only George 
Dance, Mary Moser (Mrs. Lloyd), John Inigo Richards 
(who died in r8io), the President, Benjamin West, and 
Zoffany (who, like Richards, died in 1810) remained, 
with the exception of Nathaniel Dance, who, however, 
scarcely counts, seeing that he resigned in 1790. This 
interval is still further noteworthy in the annals of art, 
inasmuch as Wilkie, on the advice of Beechey, became 
candidate at the Academy, and was elected an Associate 
on November 6, 1809. In February 1811 he suc- 
ceeded Francis Bourgeois as full member of the Royal 

Four out of the eight Beechey exhibits of 1811 
remain hidden under the disguises of A Lady (there 
were two such), A Nobleman, and A Gentleman. The 


most attractive of the others from a popular point of 
view would have been the second portrait. No. 99, of the 
Persian Ambassador already referred to, " in the dress 
in which he was first introduced to His Majesty." The 
Countess of Albcmarlej No. 293, a three-quarters, was 
the Hon. Elizabeth Southwell, who married in April 
1792 the fourth earl, and died in 182:7, No* 199 was 
a whole-length of J. figeritm> Esq.> Af.P. who was 
elected for Chester City in 1807, and again in 1812, 
continuing to represent that place until 1818. John 
Egerton succeeded his kinsman as eighth baronet of 
Egerton and Oulton on September 23, 1814, and assumed 
the name of Grey in addition to and before that of 
Egerton in October 1815. He was born on July n, 
1776, and died a.p. May 24, 1825* Sir Henry Halford, 
No. 437, was the eminent physician to George HI. and 
three succeeding sovereigns. He was born in 1766, son 
of "Dr. James Vaughan, assumed the name of Halford 
on inheriting property, and acted as President of 
the Royal College of Physicians from 1820 until his 
death in 1844. ^^ portrait, a half-length (canvas 
4oJ in. by 34 in.}, was presented to the National Por- 
trait Gallery in November 1896 by his nephew, the 
Rev. Canon Edward Thomas Vaughan. 

Beechey, in spite of his numerous engagements as a 
portrait painter, continued to support the British Insti- 
tution. To the 1810 exhibition he sent the large Hebe 
Feeding the Eagle of Jupiter f already mentioned, and 
Venus tw\d Cupid, a study. To the exhibition of the 
following year he sent another study (same sfoe, 28 in. 

1807-1817 H9 

by 23 in.) of the latter subject. In 1812 there was 
nothing by him ; but in the next exhibition he had a 
fancy piece (44 in. by 36 in.), called Cottagers Returning 
Thanks to Heaven for their Preservation from a recent 
Storm, Bndm 1814, Gipsies Regaling Themselves (55 in. 
by 64 in.)- Referring to the last-named, one of the news- 
paper critics declared : " We can give no account of this 
production of Sir William's pencil, for it is to us quite 
unaccountable. The ass's foal in the corner of the 
picture seems to have been in full training for a Prince 
Regents charger 1 " 

After an interval of three years, Beecheyhad two royal 
portraits among the seven pictures in the Academy of 
1812. These were the Duke of Gloucester and the 
Duke of York. The first of these was the fine whole- 
length life size painted for Sir John P. Leicester in 1810. 
The duke is standing in a landscape,in uniform, with Star 
of the Garter, right hand holding hat, left resting on 
sword (canvas, 100 in. by 72 in.). It is described in Carey's 
catalogue of the Leicester collection, 1819, and is there 
said to "rank among the best productions of Sir William's 
pencil. The head is finely painted, the figure in a bold 
and masterly style, and the breadth, richness, sobriety 
and subordination of the landscape background are 
every way worthy of such a principle." A full-page 
etching of it is given in Young's " Catalogue" of the 
same collection, 1821. The portrait of the Duke of 
York was probably the " head " i.e., a " three-quarters/' 
of which a version was in the Beechey sale at Christie's 
on June n, 1836, lot 52, The Duke of York, 


painted in 1812," on which occasion it was bought in at 
6-J- guineas ; it reappeared at Rainy's rooms in the sale 
held after the artist's death, when it found a purchaser 
at 6 158. Either this or one of the (probably many) 
replicas was in Sir Robert Peel's collection, and realised 
70 guineas at the Peel sale at Robinson and Fisher's 
on May n, 1900. Sir Robert Preston (1740-1834), 
No. 78, was the sixth Baronet of Valleyfield ; the 
portrait was a three-quarter (30 in. by 25 in.) ; it was 
paid for by u Mr, Brown," who was George Brown, of 
Stockton, whose daughter Elizabeth Sir Robert Preston 
married. Preston was at one time a commander in the 
service of the East India Company; in 1816, he com- 
missioned copies of his own portrait, of Mr. Brown, 
and of Mary Preston all three-quarters from Beechey. 
No. 102 was a half-figure portrait of Joseph Nollt*kens } 
the sculptor (1733-1823), an old friend of the artist ; 
its shows him looking to front, holding in his right 
hand a modelling tool, and leaning his right elbow on 
a table on which is a model of a monumental group ; 
the portrait was engraved in mezzotint by Charles 
Turner, in 1814, and again later in stipple by Holl. 
It was presented to the National Gallery, in 1835, by 
the Rev. R. K. Kerrick. The sculptor's eccentricities 
are too well known to be dwelt upon here, but one 
anecdote, related by J. T. Smith in ** Nollekens and his 
Times " (vol. i. p* 365), may be quoted- u Nollekens 
... I firmly believe, had no idea whatever of making 
himself noticed by singularities. His actions were of 
the simplest nature ; and he cared not what he said 


or did before any one, however high, might be their 
station of life. He so shocked the whole of a party 
one night at Lady Beechey's, that several gentlemen 
complained of his conduct, to which Sir William 
could only reply, c why, it is Nollekens, the sculptor ! ' " 
In addition to the Turner and Hall engravings of 
Nollekens' portrait, J. T. Smith, in the above-named 
work, speaks (vol. i. pp. 385-6) of another. Mr. Wivell* 
published at his own expense an engraving in mezzo- 
tints, from Sir William Beechey^s portrait of his patron, 
Nollekens, and did himself the pleasure of presenting 
him with a proof impression, also indulging in the like 
liberality to Mrs. Nollekens. The plate, however, did 
not sell, and the engraver lost twenty-five pounds in 
the undertaking. Some time after its publication, 
Mr. Nollekens informed the artist [? engraver] that he 
wanted an impression to give away, and after asking 
the price of a proof said, " Well, Til have a print." 
Upon its delivery he asked the price of it. ** Seven 
shillings and sixpence was the price I put upon it/ 
observed Wivell. " Well, then, what will it be to me ? 
you won't charge me that sum," said Nollekens. " Oh, 
sir, pray give me what you please," returned Wivell, 
who felt grateful for past favours. "Well, then," 
returned he, " there^s three shillings for you." 

There can be no doubt that Beechey painted more 
than one portrait of Nollekens, for among the Beechey 

* Abraham Wivell (1786-1849), who was successively a shoe- 
maker, a wigmaker, and a portrait-painter, also invented fire- 
escapes and wrote "An Enquiry into the History of the Shakespeare 
Portraits. 11 


papers we find the following letter, dated September 
16, 1822: 

"MY DKAlt NOU,Y ; 

u You were so good the other day to ask me for 
my terms, which I enclose. It was not my intention 
to make any charge to such an old friend as you 
have been, but as I do not profess to be over rich 
I have, though very reluctantly, complied with your 
wishes and send my card of terms ; however, my dear 
friend, you will do as you like and not confine yourself 
to them, but anything you may deem sufficient I shall 
be satisfied with, the reason of my sending you this to- 
day is because I go to-morrow morning very early into 
the country, where I purpose staying a month, for I 
feel myself very ill by being so long confined and very 
hard worked. Lady B. and the girls send their love to 

" I remain, my dear Nolly, 

u Yours most sincerely and faithfully, 


This may have been the portrait engraved for Wivell. 
When on his death-bed, Nollekcns was nursed by 
Sir W, Beechey, and (according to a legend in the 
family) the sculptor left his money to the artist, 
having no children of his own ; u but a nephew turned 
np, and was much aggrieved that nothing was left to 
him, a poor man, and to whom, had there been no will, 
the property would have fallen. Sir William thought 
it hard, called in the nephew and said, * Look here, you 


Fiom the original Dictate 


see this will ? it shall grieve you no longer,'' and he put 
it in the fire.*" Unfortunately for this pretty story, 
there is no truth in it, as may be seen from the will and 
its numerous codicils, printed at length in Smith's 
" Nollekens and his Times " (vol. ii. pp. 17-29) ; the 
numerous beneficiaries enumerated in the original will, 
dated March 21, 1818, include, "my friend, Sir 
William Beechey," who is down for ^200 ; in a codicil 
(dated December 6, 1822 ; he died on April 23, 1823), 
Beechey is appointed one of the three executors with a 
further gift of ^100. 

With regard to the other exhibits of this year, 
W. Salte, Esq., No. 262, is an engraved picture (the 
original is a three-quarters) of William Salte, of 
Tottenham, who died in the Poultry on February 6, 
1817, in his seventy-first year ; the engraving shows an 
elderly man, looking at the spectator full face, seated, 
holding in his right hand a paper, on which the words, 
" Asylum, to meet H.R.H. the Duke of Cambridge,^ 
the date, April 9, 1812, and "W. Salte, Esq." are 
legible ; in his left hand he holds a sort of casket. 
Admiral MarJcham, No. 299 (he was born in 1761, 
and died in 1827), was a son of the famous Archbishop 
of York, and after many naval adventures and travels, 
served under Lord St. Vincent at the reduction of 
Martinique, 1793, and in various other engagements ; 
he was also St. Vincents colleague at the Admiralty 
board, 1801-4, and for many years represented Ports- 
mouth in the House of Commons. His " Correspondence " 
was recently edited by Sir Clements Markham for the 


Navy .Records Society, to which is prefixed a good re- 
production of Beechey\<? portrait, which is a half-length, 
paid for in 1809, Markham's letters are exceedingly 
breezy, and full of epigrammatic expressions of opinion. 

The portrait painters were never more in evidence than 
in the 1812 Academy, nearly every other exhibit being 
a portrait. In addition to Beechey^s seven, Lawrence 
had eight (including Kemble in Addison"^ "Cato," 
Sir William Curtis, engraved by W. Sharp, and Thomas 
Taylor, the famous translator of Plato and other 
classics) ; William Owen, who had for some years been 
portrait painter to the Prince of Wales, had six, in- 
cluding J, W* Croker, M*P., the politician, and the Lord 
Chancellor ; Thomas Phillips had five; James Northcote 
had four, including the Bishop of Ely; Martin A, 
Shee had seven. There were three portraits of the 
Duke of Sussex, one by G. Harlow, another by S, 
I)rummond, and a third by J. F. M&nquerir, in addition 
to a miniature of him by TrossarellL Other remark- 
able features of this Academy were a portrait of 
Beeehey^ old sitter, Mrs, Dickons, by C* Allingham ; 
G, Dawe's portrait of Coleridge; L. Hoppnert 
portrait of William Giffbrd ; Benjamin West's portrait 
of J. A, Wilmot, who adjunted the losses, claims and 
compensations of the American Royalists; and Turner's 
Oxford views, 

The most diKtinguinhed personage among Beechey^s 
eight portrait** in the Academy of 1813 was the .ff^g'Atf 
Hon. Spenrer Pmeval, No. 198, the eminent politician 
(1762-1812), on of the second Earl of figment, and 

1807-1817 i^5 

who was assassinated by Bellingham, a bankrupt, in the 
lobby of the House of Commons on May n, 1812; as 
this portrait shows him holding the Regency Bill in his 
right hand, it was probably painted at the time of that 
Act, viz. in 1810. It was engraved by W. Skelton in 
March 1813, by Picart for Jerdan's w Portrait Gallery," 
and again as frontispiece to vol i. of the " Life," 1874. 
Beechey was probably not commissioned by Perceval 
to paint this portrait, as there is no entry in the 
Account Books to that effect; Lady Arden, the un- 
fortunate Perceval's sister-in-law, purchased what would 
seem to have been the original, a three-quarters, of 
Beechey in July 1813 ; the Prince Regent apparently 
purchased two replicas in 1816-7; and two more 
were sold to "Mr. Perceval" in 1823. A version 
of this portrait was at Christie's on July 13, 1901. 
Beechey 's portrait of Mr. Perceval^ No. 356, must 
have been of a relative, perhaps a nephew of the great 
statesman. The artist's second posthumous portrait was 
No. 221, The late Sir F. Bourgeois, R.A. There are 
two versions of this portrait, both of which show him 
to the waist, and are on canvas (29 J in. by 24 in.). That 
at the Dulwich Gallery is probably the R.A. portrait 
of 1813. On the back of the panel is painted a sketch 
by Sir Joshua Reynolds of a mother bending over her 
child, which lies in her lap ; Bourgeois is wearing a dark 
blue coat with metal buttons, white waistcoat, and 
frilled shirt, with a gold medal, the badge of the Polish 
Order of Merit. The second portrait was acquired by 
the National Portrait Gallery in February 1867, and 


this may have been the picture exhibited at Suffolk 
Street in 1830. One of these two portraits was engraved 
by J. Vendramini for CadeH's "British Gallery of 
Contemporary Portraits,* i8ri. Bourgeois founded 
and endowed* the Bulwich College Gallery, enriching it 
with the splendid collection of pictures bequeathed him 
by his friend Noel Desenfans ; he was born in 1756, 
exhibited at the Royal Academy from 1779 to 1810, 
was knighted by George III., to whom he was appointed 
* c Landscape Painter* in 1794; his death was caused by 
a fall from his horse January 8, 1811. Sir A. Clarke, 
No* 226, a whole-length portrait, in robes of the Order 
of the Bath ; who was created a K.B. in 1797, was Major- 
General Alured Clarke, of whom an earlier portrait was 
exhibited at the Academy of 1795. One of these 
portraits it is not known which was engraved in 
mezzotint by J. Bromley in August 1833, the year 
after his death; it shows him to half length, looking to 
right, hand resting on sword-hilt. Beeehey^s four other 
exhibits of 1813 were anonymous portraits, and in- 
cluded those of two gentlemen, one of a "lady of 

* There is another side to this splendid gift if a statement of 
J. T. Smith, "Nollekens and His Time*' (voL I, p. 378), can be 
relied on* It is the often discussed one of public benefactors 
acting meanly towards their nearest relatives: "I recollect 
Mr. Nollekens once showing me a letter which ha had received 
from Sir William Beechey ; and to tha best of my recollection the 
purport of it was, that the bearer of it was the niece of Sir Francis 
Bourgeois, who had been walking about the streets all night with 
her children for want of a lodging* Sir William applied to Mr. 
Nollekens to give her a trifle, directing his attention to her miserable 
looks and state of apparel" 

HH permission of the Rev. Thomas Craivfoid, B D 

1807-1817 127 

quality,' 1 and the other of a Colonel of the East India 

In the interval between the 1813 and 1814 Academies, 
Beechey had become, in addition to Portrait Painter to 
the Queen, Portrait Painter to H.R.H. the Duke of 
Gloucester ; and his five exhibits of the latter year 
included one of the Duke of Cambridge, already referred 
to. The Mr. E> Gambler, No. 94, was undoubtedly 
Edmund John, the son of Samuel Gambier, elder 
brother of James, first Baron Gambier (whose portrait 
by Beechey was in the Academy of 1809). Edmund J. 
Gambier was born at Shenley Hall, Herts, in 1794, and 
after various appointments, was Chief Justice of Madras 
1842-9, and received a knighthood; he died in 1879. 
The portrait was a three-quarters. Reference may 
conveniently be here made to the various other Gambier 
portraits by Beechey. The Mr. Gambier of the 1809 
Academy was a three-quarters, probably of Samuel 
Gambier (born in 1752), the Baron's elder brother, who, 
as will be seen from the Account Book, paid for the last 
half of the portrait; the Mrs. Gambier ', of the 1813 
accounts (her portrait was "altered"), was probably 
Samuel's wife Jane, fourth and youngest daughter of 
Daniel Mathew, of Felix Hall, Essex ; Mary, of the 
same year and entry, was her ninth child ; and Charles, 
of the 1812 Account Book, was probably her eldest son, 
Charles Samuel, born at Wateringbury, Kent, in 1790. 
These portraits were all three-quarters. 

P. Free, Esq., No. 160, was Peter Free, who lived for 
many years at Hyde Park Place, London, and who died at 


Brighton on November 2, 1850,, aged 79 ; his portrait was 
a three-quarters. Sir B. Graham, No* 183, was a whole- 
length of SirBellingham Reginald Graham *( 1789-1 866), 
the sixth baronet, whose father died when he was seven 
years of age. This year Beechey broke through his 
usual rule of only exhibiting portraits, by sending a 
fancy picture called lfcfa\ to which reference has already 
been made ; in Mr. Algernon Gravest annotated edition 
of the Royal Academy catalogue of this year this picture 
is entered as a Portrait of a I^ady tifOpaKty as Hebe. 

Very few changes had taken place in the composition 
of the Academy between the 1813 and 1814 exhibitions. 
Edward Burch, the librarian, had retired or died; 
Edmund Garvey and James Wyatt had died, and 
William Thoed had been elected to one of the vacancies 
and George Francis Joseph became an Associate. 
Lawrence^ great portrait of the year was that of Lady 
Leicester, which, like five of his other exhibits of this 
season, has become popularised through engravings. 
Beechey's portrait of the Duke of Cambridge was next 
to Lawrence 1 Duke of York, and that of Sir B. Graham 
was next to Owen's fine portrait of the Earl of Ash- 
burnham, the third earl and one of the greatest book 
collectors of modern times. Northcote exhibited a 
portrait of Brunei the engineer, G. Dawe one of the 
learned Dr. Parr, of whom a second portrait, by J. J. 
Halls, was in the same exhibition* 

* No. 330 of the same Academy was a picture by H. B. Chalon, 
Portraits of two Famous Hunters and HarHtrs going out in the 
Morning. The property of Sir B* Graham, Bart." 

1807-1817 129 

With one exception, Beeehey's portraits of 1815 were 
of titled or distinguished people, at the head of which 
was a whole length of H.R.H. Duke of Kent* (1762- 
1820)5 the earlier and more important of Beechey'stwo 
exhibited portraits (the second was in the Academy of 
1820) of George IIL's fourth son. It was No. 82, 
and was lent by the Fishmongers' Company to the 
Exhibition of " Monarchs of Great Britain " in 1901-2, 
No. 168, and is on canvas (98 in. by 71m.), life-size, 
facing the spectator, head turned to right, in military 
dress, wearing insignia of the Garter, right hand resting 
on his stick, sword in left, landscape background with 
castle. Skelton's engraving (igf in. by iSJin.) only 
shows the Duke to half-length ; it was again engraved 
by E. Scriven for Jerdan's " Portrait Gallery, 11 1830-4 
(vol. ii.). The original, or a replica, was in the Beechey 
sale at Christie's, June n, 1836, lot 64, where it was 
bought in at 120 guineas; at the subsequent sale at 
Rainy's, July 19, 1839, it was lot 36, but was "passed." 

The following letter by the Duke of Kent from the 
Lodge, Castle Hill, September 20, 1814, concerns the 
fine portrait exhibited in 1815 : 

* As -will be seen from the Account Books, Beechey painted two 
whole-length portraits for "the Freemasons" (perhaps an error 
for "Fishmongers ") of the Dukes of Kent and Sussex, for which 
he received payment in three instalments in January, August and 
September 1815, the total amounting to 400 guineas. The two 
were engraved as a companion pair by W. Skelton, that of 
the Duke of Kent appearing on November I, 1815, and that of the 
Duke of Sussex, in May of the following year. The latter portrait 
was exhibited in 1816. 


u Mr DEAE Sm WILLIAM, Agreeable to my promise 
I beg to announce my intention of being with you 
to-morrow (Wednesday, the 2ist instant) at the usual 
hour, or as near it as possible, when I hope you will be 
able to forward the picture considerably, as I trust 
nothing will occur to prevent my giving you a full hour 
and a half s sitting. 

* 4 In the meanwhile with best remembrance to your 

** I remain, 

** My dear Sir William, 

Ever yours faithfully, 


Beechey n a later picture of the Duke was done in 
1818, and this doubtless was the portrait in the 1820 
Academy ; it wan bequeathed to the National Portrait 
Gallery in 1881 by Lord Hatherley; it is on canvas 
(29 in. by 24! in.), and shows the Duke to the waist, in 
scarlet uniform* gold epaulettes, the star of the Order of 
the Garter is on bin left breast, an oval badge of the Order 
of St. Patrick hangs by a short blue ribbon in front and 
rents on the broad blue ribbon of the Garter ; a similar 
picture, in " possession of the Duke of Sussex," was 
engraved in octavo frize by Charles Warren. The 
portrait next in importance, No* 164, was of General 
Sir Thomas Picton* X.B.* who was born in 1758, and 
who, after a distinguished career he was thanked 
seven times by the House of Commons for his services 
in the Peninsula was killed at Waterloo on Jane 18, 

1807-1817 I3 1 

1815. The portrait, a three-quarters (i.e., 30 in. by 
25 in.), was paid by a "Mr. Picton" in February, 
1816; and on February I, 1817, a "Mr Hall" pur- 
chased a copy at the same price as the original, 
50 guineas ; one of these now belongs to the Duke of 
Wellington, and shows him to waist, looking to left, 
in military uniform ; on the back of the canvas is 
written : " Painted a fortnight before his death." Yet 
another version was in the Beechey sale at Christie*^ 
in June 1836, where it was bought in at $ ios., but 
at Rainy's in July 1839, ** found a purchaser at 
^3 ios. There are two totally distinct engraved por- 
traits, with half figures, by Beechey of this gallant 
officer : (i) by P. W. Tomkins for Jerdatfs " Portrait 
Gallery," 1830-4 (vol. ii.), in which he is looking to 
spectator's right (i.e., to his left), in his military- 
uniform (without epaulettes), with long row of orders 
and a cross suspended from his neck, and two stars of 
orders on his breast ; and (2) by H. Cook, in which 
he is also in military uniform, with epaulettes, with 
one star only on his breast: in this he is looking 
to spectator's left (his right). No. 97 was a whole- 
length portrait of Sir P. Warburton, the fifth and last 
baronet of Arley, who died s.p. on May 14, 1831, when 
the title became extinct, his estates passing under his 
will to his great nephew, Mr. Rowland Eyles Egerton- 
Warburton, of Warburton and Arley. Beechey also 
painted (as did Romney and Hoppner) Lady Warburton 
(Alice, daughter of the Rev. John Parker, of Astle, 
Cheshire), who survived her husband until September 9, 


1837; this portrait, which is now at Arley, was 
originally a whole length, but has been cut down; 
both portraits were painted and paid for several years 
before x8i5,i*.,inx8xx. No. 228, S. KiUerbee, Es^ is 
described in Evans's" Catalogue * as Samuel Kilderbee, 
an attorney at Ipswich. As this gentleman died 
in May 1813, aged eighty-seven, the portrait would 
have been painted some time before it was exhibited ; 
the engraving, a private plate, by W. C. Edwards, 
shows the half figure of an old man directed to front, 
in dark coat and white ruffle, and thin grey hair ; it 
has the motto " Providentia divina Repondo." Kil- 
derbee's son and namesake was a D.D. and rector of 
Easton from 1817 until his death in 1847; his grand- 
son was for many years a member of Parliament, and 
married a daughter of the Earl of Stradbroke, Captain 
Wat#on t a three-quarters, No, 305, has not been further 
identified (it was paid for in January 1815, by a 
Miss Ballock) ; the lost portrait, also a three-quarters, 
of the year, No. 311, was of Lord Ma$/nard f Charles, 
second viscount (175 1-1824), and on the death of his 
nephew and successor, on May x8, 186$, the title 
became extinct* 

Before the opening of the next yearns Academy 
several events of interest to artiste had taken 
place* First and foremost, Lawrence was knighted 
(April 20, x 8x$); George Dawe had succeeded Henry 
Tresham as an Academician; K. R. Reinagle and 
William Collins had been elected Associates and 
Raeburn was an R.A, elect Lawrence was indis- 


By permission of Miss Lorina J. Reeve 


putably at the head of the portrait painters, and nearly 
all his portraits of the 1815 Academy were of dis- 
tinguished people the Prince Regent, H.H. Prince 
Metternich Winnebourg, the Duke of Wellington 
holding the sword of State on the last day of Thanks- 
giving at St, PauPs; Prince Bliicher, and IL Hart 
Davis, M.P*, the picture collector. There was, inter a2ia, 
another portrait of Mrs. Dickons, this time by JEL W. 
Pickersgill ; and also a portrait of Master E. Landseer, 
by Master J. Hayter. 

At the Academy of 1816* Beechey was, with 
Mr. Northcote "and, we believe, Mr. Owen/' the 
"Pictorial Hangmen/' as one of the newspapers 
pleasantly remarked. Beechey's first picture was No. i 
in the exhibition, a half-length portrait of the Bishop 
of Chester George Henry Law (1761-1845), an emi- 
nent scholar who, after occupying the see of Chester 
from 1812 to 1824, was translated to the bishopric of 
Bath and Wells, which he held up to his death; 
Beechey's portrait was engraved by Meyer, but the 
plate was a private one. Lord Hill, No. 19, a whole 
length, was Rowland Hill, who distinguished himself 
in the Peninsular war, was rewarded with the Grand 

* "We do not remember," says one of the newspapers, "an 
exhibition in which there were so few female portraits as in the 
present one. Of these Sir William Beechey has considerably the 
largest number. . . . This artist appears in two or three of his 
pictures to have adopted a novel style of background, particularly 
in the portraits of the Duke of Sussex and Lady Bernard, the 
former of which is powerfully characterstic of the wildness of 
Highland scenery, and the latter of horticultural decorations in the 
margin of the sea. " 


Cross of the Bath, and was elevated to the peerage as 
Baron Hill on May 17, 1814; he died on December 10, 
1842. Lord Hill and the lady in Beeehey^s next por- 
trait of this year, Lxdy Rcrwlck** No, 37, were relatives 
by marriage ; she was a Miss Sophia Duhouchet before 
her marriage, on February X2, 1812, to the second Baron 
Berwick. Lady ffenmrd. No. 88, the background of 
whose portrait is said, by one of the papers of the day, 
to consist of " horticultural decorations on the margin 
of the sea," was Charlotte Matilda, youngest daughter of 
Sir Edward Hubte, Bart., and second wife of Sir Thomas 
Bernard, the author of several book% a philanthropist 
and the chief promoter of the British Institution ; Lady 
Bernard died in July 1846, and her portrait, nearly 
full-length ($sm. by 43in,), which shows her seated in a 
landscape under a tree, in striped brown dress with a 
white fichu at the neck* was in the James Price sale at 
Christie's on June 15, 1895, when (catalogued as of 
Lady Barnard^ it realised the high price of 1180 
guineas* The portrait of ILR*H. the Ihtke of Simex 
(of whom, an we have seen, Beechey exhibited an earlier 
work in the Academy of 1801), No* 112, was the com- 

* It is curious to note that wfeilst Beecfaey's Account Book of 
this period does not contain any reference to a portrait of Lady 
Berwick it contains two entries in connection with her. In 
November 18x5 she paid the first instalment for a half-length of 
Lady Bosworth(/5o) t and the paymentby Lord Berwick on February 
5, x8x6, o j35 would appear to complete the purchase. Strictly 
speaking there would be no Lady Boswortfa in 1816; the Barony of 
Bosworth, created in 1687, was merged into Berwick, and both these 
creations became extinct in 1695* The barony oC Berwick was 
revived in 1784 in favour of Noel Hill, Esq. 

1807-1817 135 

panion to that of the Duke of Kent in the previous 
year's Academy, and was a whole length in Highland 
costume ; this is the portrait engraved by W. Skelton 
in May 1816, to half-length only ; a replica was in the 
Beechey sale at Christie's, Jane n, 1836, lot 63, when 
it was bought in at 125 guineas; at Rainy's in July 
1639 (in the catalogue of which it is described as " extra 
whole length ") it was " passed." No portrait of this 
size of the Duke has yet been traced. Lady Owen, No. 
129, was Charlotte, daughter of the Rev. J. L. Phillips, 
and first wife of John Lord, who took the surname of 
Owen and was created a baronet on January 12, 1813 ; 
they were married in 1800, and Lady Owen died on 
September, i, 1829; from the Account Book it would 
seem that Lady Owen's portrait was first intended to be 
a three-quarters, as the first payment was 25 guineas, or 
one-half; on July 16, 1816, a further sum of 50 guineas 
was paid. In 1821 Beechey painted a three-quarters of 
Sir J. Owen, but this was not exhibited. Beechey's 
final exhibit of this year, No. 334, was of the Hon. 
Captain Peachey : " whilst Lieutenant of the Cormvallis 
on March 1810, having been all night in pursuit of a 
National brig corvette, seen the day preceding, dis- 
covered her at the break of day in the distance/ 1 
Captain Peachey was Henry John, eldest surviving son 
of John Peachey, second Baron Selsey, and was born 
on September 4, 1787, he succeeded his father in the 
peerage on June 27, 1816. Beechey also painted at the 
samq time a portrait of Lord Selsey's only surviving 
daughter, Caroline Mary Peachey, who was born May 


24, 1790, and who married August 19, 1815, 
Leveson-Venables Vernon, son of the Archbishop of 
York ; both portraits were whole lengths. The Selsey 
barony became extinct in 1838, 

One would have expected the Academy of 1816 to 
have been strong in what may be described as reflections 
of the titanic struggle which culminated at Waterloo, 
but, curiously enough, the only member of the Academy 
to approach the subject was 8. Drummond, A.R.A., 
with a picture of The Baitk of Waterlog tm the eve of 
the iBth* From J. Gandy f also an A.R, A., there was a 
design of u A proponed town residence for the Duke of 
Wellington, surrounded by villas and dwelling-houses, 
forming a circus and trophied garden, corresponding 
with the plan made for the Mary-le-bone park estate by 
late G, White, Esq., in 1809, and now improved by J. 
White, j unior/ 1 This in one of the innumerable ischemes 
for a Wellington residence which remained in the embryo 
stage. Another interesting feature of this year's 
Academy consisted of two portraits, by G. H. Harlow, 
of Northcote and Sir W- Beechey. Shee had a portrait 
of Lieutenant-General Sir Thomas Picton, and Lawrence 
had portraits of J. J- Angerstem, the picture collector, 
of the Bishops of London and Durham, the Duke of 
York and Major-General Sir H. Tonrens. Edward Bird 
and John S. Copley appeared for the first time as 
R.A.8, and the new Associates were William Mul ready 
and John Jackson. 

With regard to Shee's portrait of Sir Thomas Picton 
above mentioned, the following letter to Sir William 

1807-1817 137 

Beechey and the draft of his reply cannot fail to be of 
interest : 

I have been much indebted to your kindness in providing 
a distinguished place for Sir Thomas Picton's portrait 
[R.A. 1816, No. 6] in the present arrangement, so I 
feel very reluctant to add to the weight of my obliga- 
tions. I beg therefore to withdraw the request with 
which I troubled you some days since, on the subject of 
Mr. Oben's drawing* and remain with every proper 
feeling of your liberality. 

" Your most obedient and very humble servant, 


Beechey's draft of reply is written at the tack, and 
is as follows : 

" MY VERY GOOD FRIEND SHEE, I certainly meant 
you every kindness and am glad that you afford me 
such distinguished credit in the present arrangement. 
The idea of any weight of Obligation is between us, a 
Farce ; we of course assist one another whenever we 
can. Respecting Mr. Oben's drawing you are the best 
judge, and must act as you please; being unwell at 
home I committed it to Northcote, to whom referring 
you, I remain, with every proper feeling of your 

" Your most obedient very humble servant, 

W. B." 

* J. G. Oben's drawing, View of Glendalagh, the valley of the Seven 
Churches, County of Wicklow, on St. J&ven's Day, was No. 391 in the 
Academy of 1816. 


In selecting pictures for the 1817 Academy, Beechey 
again chose one which would appeal, as that of Captain 
Peachey of the previous year had appealed, to the 
popxilar imagination, and this was No. 200, Lord 
Exmiouth) " towards the close of the evening, ordering 
sails of the Queen Charlotte to be hauled in, in conse- 
quence of the burning of an Algerian vessel imme- 
diately under her stern." This is the picture engraved 
by Charles Turner, and published in April i, 1818 
(33i in- by i6| in.), and again on a much reduced sale 
for Brentan's "Naval History," 1823. The original 
portrait is a whole length, slightly larger than life ; 
the Admiral is standing on his quarter-deck, bare- 
headed, with a telescope in his right hand, and the left 
raised as if encouraging his men, with ribbon and 
insignia of the Bath and several foreign orders 
(canvas 109 in* by 71 in.)* The present owner of the 
original picture is not known to us, but a replica 
of it was presented to the India Office by the Earl 
of Hardwicke in 1901. The original or a replica 
formed lot 62 in the Beechey sale at Christie's, June n, 
1836, where it is thus described : ** Lewd Exmouth, at 
the battle of Algiers, giving orders to take in the 
nails whole length ^ full of character and admirably 
painted ; " it was bought in at 58 guineas. It re- 
appeared at the Beechey sale atttainy'tf, July 19, 1839, 
lot 26, where it is described m ** extra whole length," 
and where it sold for 36 guineas. The battle of 
Algiers took place in August, 1816 (when three 
thousand Christian slaves were rescued from the Dey), 

By jpei mission of Col W. F L JM 

1807-1817 139 

so that Beechey, ever alive to the value of actualities 
in art, again scored first, for, with the exception of a 
View of the commencement of the attack in Algiers, 
by H. Parke, Beeehey's imposing portrait was the only 
picture of the year which could be associated with the 
recent events in Algiers. 

His first picture in the Catalogue of this year is 
No. i, Portrait of Master BrooTcs^ a child three years of 
age, as St. John; this was painted in 1814, and from 
the price paid for it, 120 guineas, it would have been 
in a half-length canvas, and one of the three payments 
describes it as " a naked boy as St. John." No. 36, 
Portrait of a gentleman, has not been identified ; No. 49, 
the Marchioness of Hastings, was Flora Countess of 
Loudoun in her own right. She married on July 12, 
1804 (and died on January 8, 1840), the first Marquess 
of Hastings, " a gallant soldier, an eloquent senator, 
and a popular statesman " ; she appears in Beechey's 
Account Book as the Countess of Loudon and Moira, 
1816 ; the portrait was a whole length. The Marquess 
of Anglesea (or, rather, Anglesey), whose portrait, 
No. 103, was a three-quarters (he again sat to Beechey 
in 1820 for another portrait of the same size), was one 
of the distinguished heroes of the Peninsular War, and 
was at the head of the United British, Hanoverian, and 
Belgian horse at Waterloo ; he was created Marquess 
of Anglesey in July 1815. The portrait was engraved 
in stipple by H. Meyer (from a drawing by J. Jackson) 
for CadelPs "British Gallery of Contemporary Por- 
traits, 11 March 21, 1817, and this was repeated by I. 


Thomson in the European Magazine, October 1821. 
The engraving shows the Marquess to the waist only, 
in peer's robes, with star of an order suspended from 
the neck ; he is directed to left, the head turned, looking 
at spectator* No, 173, Portrait of Lady Arbiithnot 
anid family, was the picture of the wife and family of 
Sir Robert Arbuthnot (1773-1853), the soldier, for 
many years aide-de-camp to Beresford ; he was fourth 
son of John Arbuthnot of Mayo, and brother of the 
Bight Hon. Charles Arbuthnot ; his wife was a 
daughter of William Veaey, Knq*, of Fail-mill, Ireland. 
Beechey painted a three-quartern of CoL Arbuthnot in 
1814 which was purchased on December 16, for Lord 
Beresford, with two three-quarter portraits of Blttcher 
and the Hetman PiatofF. Jfr. SktUon and Colotiel Grey, 
a three-quarters, were two other portraits of this year ; 
of the latter a replica (if not the original) was in the 
Beechey sale of 1836, when it wan bought in for 
* 5* 



A FEW interesting changes in the composition of the 
1 8 1 8 Academy had been effected: John Jackson and 
Henry Raeburn appear for the first time among the 
Academicians, and William Theed and Samuel Wood- 
forde no longer figure in the list. The new Associates 
were Edward Hodges Baily and Abraham Cooper. 
Beechey^ " terms " had undergone frequent revision, 
and the more numerous his clients the higher his prices 
became. About 1818 his prices, according to one of 
his Note Books in the Library of the Royal Academy, 
were thus : Head (or three-quarters), 60 guineas ; Kit- 
cat, 90 guineas; half length, 125 guineas; Bishop's 
half length, 150 guineas; ditto, containing the whole 
figure, 170 guineas; whole length, 250 guineas; extra 
ditto with robes, etc., 300 guineas. Half price was to 
be paid at first sitting. Beechey had in 1818 become 
portrait painter to the Duchess of Gloucester, as well 
as to the Duke and the Queen ; and his eight portraits 
of this year included one of his new patroness, No. 62. 
Beechey had also painted the first Duchess of Gloucester, 
Maria Walpole, the illegitimate daughter of Sir Edward 
Walpole ; she married first on May 15, 1759, James, 


second Earl of Waldegrave (who died in 1763), and 
secondly on September 6, 1766, William Henry, Duke 
of Gloucester, brother of George HI., and died on 
August 23, 1807. She was painted by Reynolds and 
by Gainsborough (whose splendid portrait of her sold 
for 12,000 guineas in the Cambridge sale). Beechey's 
portrait was an unimportant one, and shows her late in 
life, in black and white dross, with black head-dress 
(canvas 29! in. by 224- in.), and was purchased at the 
Duke of Cambridge's sale on June u, 1904, lot 71, for 
60 guineas by Sir Faudell Phillips. The Duchess of 
the 1818 Academy was Princess Mary, daughter of 
George III, who was born in 1776, married July 22, 
1816, her first cousin, William Frederick, second and 
last Duke of Gloucester; she survived her husband 
many years and died on April 30, 1857, The portrait 
does not appear to have passed with the other Glou- 
cester property into the possession of the Duke of 
Cambridge ; at all events it was not included in the sale 
of 1904, It is a whole length, on a Bishop's half-length 
canvas, and shows her seated, looking to front, a land- 
scape with Windsor Castle in the distance to right ; 
she is wearing a low, dark dress with white stripes, 
pearl necklace, with pearl band in her hair, and holds a 
fan. It was engraved in mezzotint by W. Say, 
March 22, 1819. 

Perhaps the two portraits in thin exhibition which 
attracted the most notice were those of Mr* and Mrs. 
CoutU (Nos* 33 and 153); that of the former was 
lent by the Baroness Burdett-Coutts to the Guelph 

Bu vermission of Mrs. Oscar Leslie Stephen 

1818-1838 143 

Exhibition of 1891. Thomas Coutts (1738-1822), 
founder and for many years sole partner of the great 
banking house of Coutts and Co. in the Strand, had 
married, as we have seen (late in life and as his second 
wife), the beautiful Miss Mellon, the actress, in 1814. 
He was then seventy-five years of age and his bride was 
about thirty-seven ; the marriage excited a vast amount 
of interest it gave the caricaturist and satirist a text of 
which they fully availed themselves but the only result 
of it all was to strengthen the mutual attachment, and 
when Mr. Coutts died he left his widow the whole of 
his property, which amounted to about ^900,000. The 
portrait of Mr. Coutts, a half figure, life size, to left, 
head nearly facing, black coat (canvas 30 in. by 24. in.), 
was engraved by R. W. Sievier in 1822, and also by 
Scriven. The portrait of Mrs. Coutts of this year, as 
that of 1805, was a whole length ; that of her which 
the Baroness Burdett-Coutts lent to the Guelph Exhibi- 
tion in 1 89 1 shows her no longer the " slim" beauty of her 
early theatrical triumphs, but a substantial and hand- 
some woman of middle age to half figure, life size, red 
dress cut low, the right hand raised with the index 
finger extended. This portrait was engraved by 
T. Woolnoth as a book illustration, May II, 1822. 
No. 46, the Right Hon. Lord Erskme, was the first 
baron (1750-1823), who, starting life as a midshipman 
was successively an officer in the army, a barrister and 
intimate friend of Sheridan and Fox, became Lord 
Chancellor of G-reat Britain, one of the greatest advo- 
cates in the history of the English bar. He was painted 


by Reynolds, Lawrence (this was at the Royal Academy 
of 1802), and Hoppner, all three of which were 
engraved. Beechey\s portrait of the Lord Chancellor 
late in life has not been exhibited since 1818, and it has 
not been engraved; it was a three-quarters, and was 
painted for Mr, Coutta. Nothing for certain is known 
of W. Leake, Esq., No. 86, and the portrait is not even 
mentioned in the Account Book ; but he was probably 
William Leake, the well-known lawyer of 27 Sackville 
Street, London, and Putney Heath, solicitor to the Noel 
family (among many others), and this explains the two 
entries in the Account Book, 1820, May 24 and July 22, 
in which " Mr- Leake * pays for a three-quarter portrait 
of Sir Gerard Noel, father-in-law of the Mrs, Noel of 
this same year's Academy. 

Admird Sir George CampbeUt No. 137, was another of 
Nelson's distinguished officers {he was rear-admiral in 
1801, K.C.B. 1814, G.CLB. 1820, and died in 1821), 
and was second in command of the fleet during the 
blockade of Toulon 1803-5 J &> portrait, a Bishop's 
half-length, which was engraved by William Ward, 
January 15, 1819, shows him to three-quarter figure, 
standing, looking to front, in naval uniform with collar 
and star, right hand holding hat, left on hilt of sword* 
Mr. Ernest Beechey has permitted us to print an 
interesting letter (in his collection) from Eustatia Lady 
Campbell, wife of the Admiral, and the letter is quite 
well worth quoting at full length. It is as follows : 

1818-1838 145 

" PORTSMOUTH, September 13 [1817], 

" MY DEAH, SIB, WILLIAM, I beggM the admiral to let 
me answer your kind letter as I am the person moat 
interested. I am rejoiced to find the Plate is in such 
forwardness I rather pique myself on the patience I 
have exerted but I feel it nearly exhausted. If it were 
possible to increase my anxiety to have the Portrait, 
the innumerable persons expressing the greatest admira- 
tion of it both as a painting as well as a most faithful 
resemblance, would add to that anxious wish. I do 
assure you without flattery I have never known any 
Portrait so much admired for such combination of 
various merit such perfect excellence. Very many are 
almost as impatient as myself for the engraving to be 
finished, and if Mr. Ward would make it known that 
he is making an engraving from your excellent 
Performance he would soon find it a very popular Print. 
If I recollect right, the Proof Engravings were to be two 
guineas the print, and we desired to have eighteen. As 
the Admiral does not know Mr. Ward^s Christian name, 
he has taken the liberty of drawing the bill in favour 
of yourself, and trusts you will forgive his troubling 
you ; and may we beg you to tell us if our memory has 
been correct or if more is due for the Engravings. 

" When Mr. Ward has finished with the Portrait we 
will be very much obliged if he will have a packing case 
made for the Picture and have it very carefully pack'd 
and sent down here. ... I am certain you will forgive 
all this trouble, for I know you are very good and you 
know I am very anxious and very nervous about this 



delightful Portrait. The Admiral desires his sincere 
and best regards and I cannot say with how much 
Respect, Esteem and Gratitude, 

I am, my dear Sir William, 

Yours ever most sincerely, 


To return to the other exhibits of 1818 : Mrs. 
No 214, was the artist's daughter. Mrs* W Noel, No. 
315, was Anne, daughter and heiress of Joseph Yates, 
Esq., of Clanna Hall* Gloucestershire ; she married on 
May 20, 1817, the Hon. William Middleton Noel, 
younger son of Sir Gerard Noel Noel, and died 
October 6, 1851, The picture, the property of Colonel 
W, F, R Noel, of the Great House, North Nibley, 
near Dursley, is a fine whole length, on a Bishop's half- 
length canvas (60 in* by 48 in,), in low white dress 
with necklace seated near a balcony on which her right 
arm rests, the hand renting against her face, her left 
hand resting on her lap and holding a spray of flowers. 
This portrait Js here reproduced by kind permission of 
Col. Noel, to whom we arts also indebted for an 
illustration of his second Heechey, the Hon. Louisa 
Elizabeth Noel, daughter of Sir Gerard Noel; she 
married in 1807 William Henry Hoare, of the well- 
known firm of banker**, and died in 1816. 

Some of the more interesting of the pictures by other 
artists in the 1818 Academy included Wilkieb finished 
sketch of the Scott Family, Lawrence^ portrait of the 
Duke of Wellington " in the dress that he wore and on 

1818-1838 147 

the horse he rode at the Battle of Waterloo," Turner's 
pictures of Raby Castle, the Earl of Darlington's seat, 
the View of the Dort Packet-boat from Rotterdam 
becalmed, and The Field of Waterloo, with a stanza 
from " Don Juan " as a legend. There were also busts by 
Chantrey of John Rennie, Nollekens, the late Erancis 
Horner, MJP., Benjamin West, and Sir Joseph Banks. 

Beechey had four pictures hung at the British 
Institution of this year Meg Merrilies (33 in, by 40 in.), 
a half crazy sibyl or gipsy woman in Scott's "Guy 
Mannering," and concerning which one of the newspaper 
writers said that it "perhaps embodies the idea of that 
extraordinary character as completely as the act is 
capable of doing ;" The Evening Star (38 in. by 45 
in.), St. John m the Wilderness (72 in. by 72 in.), and a 
view of the Sandbrook Chalybeate. The second of 
these appears to have attracted the greater amount of 
notice ; two lines from Ossian are given in the catalogue : 
" Star of the descending night ! fair is thy light in the 

The waves come with joy around thee, and bathe thy 

lovely hair." 

One of the newspapers of the day thus comments on 
the work : " A picture which excites extraordinary atten- 
tion here on account of the novelty and singularity of 
the subject is the Evening Star of Sir William Beechey/ 
After quoting the above lines from Ossian the critic 
goes on to say : " It is conceived in a truly classical 
taste, the star is personified by a beautiful female 
rising from the bosom of the ocean." 


The large picture of *SSL John in the Wilderness was 
probably an elaboration of that of Master Brooks in 
the 1817 Academy. Beechey was not again represented 
at the British Institution until 1821, when he sent one 
of his numerous Jffebe^ this time a canvas 125 in. by 
95 in. This is probably the picture to which one of the 
papers referred when it stated that u Sir W. Beechey is 
painting a beautiful picture of Hebe, as large as life, on 
a canvas of considerable dimensions, for the next exhibi- 
tion at the Royal Academy** 

The Academic body of 1819 showed the average 
number of changes. Chantrey was the only additional 
name which appears in the list of Academicians, and no 
new name appears in the list of Associates ; but among 
the new lint of honorary members them were the Lord 
Bishop of Ixntdon as Professor of Ancient Literature, 
William Mitford as Professor of Ancient History, and 
Samuel Lysons as Antiquary. Ite*chcyV eight portraits 
included those of three Royal personages his official 
patron the J>db qfGfawwtrri the Ducfawt vf Cambridge 
and Prwctt* Attgwtia* The first of these three portraits 
was the BinhopVi half-length* of which a mezzotint en- 
graving wan published by W* Say in March 18x9, and 
which show?* the duke seated* in uniform with star. 
The portrait of the Duchew of Cambridge (H.S.H. 
AuguHta Wilhelmina Ixnrimi Princew of HCBSC, born 
July 25, 1797* married May 7, 1818, ami died April 6, 
1889) was the whole length, life-robe portrait, her right 
arm resting on ermine mantle on pedestal, left hand 
holding drens (canvas 94 in* by 57 in.), which the first 

Cawll tf Co 


1818-1838 149 

duke paid for in 1818, and which the late Duke of 
Cambridge lent to the Victorian Exhibition in 1891-2. 
It was in connection with the first two of these three 
portraits that the artist received the following letter, 
dated : 

" CHELTENHAM, July 12, 1818." 

* DEAR SIB, WILLIAM, The Duke of Gloucester has 
desired me to thank you for the letter he has this 
morning had the pleasure of receiving from you and 
instructed me to call upon you with the amount of his 
pecuniary debt when I return to Town. 

" Mr. Joseph* of course cannot have the Portrait of 
the Duchess until your son [probably George Beechey] 
has finished the copy for Mrs. Hastings. And as he 
has also two other copies to make you must arrange as 
suits his convenience and your pleasure with respect 
to Mr. Say* and Mr. Joseph. But His R.H. will wish 
the two pictures to be sent Home by Christmas. 

" His JELH. desired me to offer you his best regards, 
and I request of you to believe me always," 

** Very faithfully yours, 


The portrait of King George the Third's second 
daughter, Princess Augusta, is doubtless the three- 
quarter length portrait of her with a landscape 

* The reference to Say was of course in connection with the en- 
graving mentioned on p. 148, but that to "Mr. Joseph "is enig- 
matical. G. F. Joseph, R.A., had himself a portrait of the Duke in 
the Academy of 1818, and he may have received a request from 
some one to make a copy of Beechey's portrait. 


background, in yellow silk dress trimmed with white 
lace, large white hat with feathers, pulling a 
glove on her right hand (canvas 56 in. by 
40 in.), which was in the Duke of Cambridge's sale 
at Christie's on June n* *90-b ' ot 7> when it was 
purchased by Mr. Hodgkins ; it was engraved by S. W, 
Reynolds and S* Cousins, March 8, 1824, "from the 
original picture in the possession of ILR.H. the Duke 
of Gloucester, 1 * and practically all the Gloucester pro- 
perty wan inherited by the Duke of Cambridge. The 
portrait of the Vice Chancellor, Sir John Leach, 
No, 266, a three-quarters, shows him in black coat, 
and was exhibited at South Kensington in 1868, by 
Mr. Thomas I^ach* The Vice Chancellor, son of a 
Bedford coppersmith, was born on August 28, 
1760, entered the Middle Temple in 1785, and was 
called to the Bar five yeara afterwards; he sat in 
the Houne of Commons for Seaforrl in 1806^ and 
after becoming Vice Chancellor of England, in 1818, 
and Master of the Rolls and Deputy Speaker of the 
House of Ixxrds in 1827, died on September 16, 1834, 
a ntriking instance of the manner in which ability may 
triumph over obscurity of birth* Hugh /^toflter, Esq^ 
No. 57, wa# Hugh Lcyccftter* who, after being educated 
at Eton and King's College, Cambridge, became Judge 
of AsfW^H for Carnarvon, Angleea, and Merioneth, 
M.P, for Milboroe Fort, and died in Spring Gardens, 
London, in 1836, Thin portrait is doubtless the half- 
length painted for Mr. Aahton Smith, M*P* Leycester 
made an important speech against Whitbread's motion 


for an impeachment of Lord Melville, although a fort- 
night afterwards he brought the matter again befoi'e 
the House of Commons by moving, as being most 
consistent with the spirit of the Constitution, " That 
the House should proceed by impeachment against 
Lord Melville, for the several matters and* offences 
which appeared by the tenth report to have been com- 
mitted by him/' a motion which was carried by a 
majority of twenty-three. Owen's whole-length por- 
trait of the same gentleman, in the Academy of 1817 
(No. 109), was painted for the Mayor and Corporation 
of Chester, and engraved by S. W. Reynolds, August 
20, 1817. Lady Stanley^ No, 205, was Mary, only 
daughter and heiress of Sir Carnaby Haggerston,Bart., 
wife of Sir Thomas Stanley of Hooton (whom she 
married in 1805; she died in August 1857); the 
portrait was a half-length, and a companion to the 
portrait of her husband, painted at the same time. 
No. 299 was a three-quarter portrait of James Fer- 
gussan, who died in St. James's Place, London, on 
September 6, 1820, in his eighty-fifth year; he was in 
the House of Commons as M.P. for Aberdeenshire 
from 1790 to the time of his death ; his seat was at 
Pitfour, near Slains Castle, " with a noble view of the 
coast from Peterhead along the shores of the Moray 
Frith." This portrait was engraved (a private plate) 
by William Ward in 1818, and shows him to half- 
figure, directed to right, facing and looking down- 
wards, and wearing a dark coat. 

The Academy of 1820 contained nearly 200 fewer 


exhibits than that of the previous year, only five of 
tho Academicians Bone,, Chantrey, Phillips, Stothard, 
and James Ward availing themselves of their privilege 
of exhibiting eight works each, I^awrence had only 
five, and Beechey six. The changes in the body of the 
Academy were few but important. Sir Thomas Law- 
rence had succeeded the venerable Benjamin West as 
President; Edward Bird, R.A., died in 1819, and 
William Hilton had taken his place* Among the 
Associates the names of Washington A Hston, "of 
Boston, North America/ 1 and John Constable appeared 
for the first time, whilst William Collins and Abraham 
Cooper were ** R.A. Elect."*' Beechey^ only royal por- 
trait this year was that of the Duke, of Kmt t No. 82, 
which does not seem to be entered in the Account Book, 
but his son George Beechey sent one of the Duke of 
Gloucester. Lad*/ J)c La IFVirr, No. 23 f was Lady 
Elizabeth Saekville, younger daughter and co-heir of 
John, third Duke of Doroct ; he wan born on August 
ix, 1 795, married, June 21, 1813, George John, Earl 
De La Warr, was created Baroneftg Buckhurst on April 
27, 1864, and died January 9, 1870. She had been 
painted as a little child in a Iwaiitiful group with her 
brother and muter, by John Hoppner, and thin picture 
is now at Knole, BeecheyVi portrait of her shows 
nearly the whole figure (50 in* by 40111.), technically a 
whole-length on a half-length canvas Heated near a 
column, in dark low-cut draw, with white muslin 
ftlecven,dark hair, and long |KarI necklace ; a group of 
trees is seen in the dintancc to right. The picture 

1818-1838 153 

was until lately in the possession of the present Earl, 
and has been acquired by Messrs. Dowdeswell and 
Dowdeswell; it is signed and dated, " W. B., 1822." 
The post-dating is probably explained by the fact 
that the portrait was returned to the artist for the 
purpose of making some slight alteration. 

Cecil Forester and Lady Catherine Forester, Nos. TOO 
and 1985 two whole lengths, were husband and wife ; the 
former was Cecil Weld Forester,* who inherited the 
Shropshire estates of his uncle Brooke Forester, and was 
elevated to the peerage as Baron Forester of Willy 
Park, co. Salop, on July 17, 1821 ; he married on 
June 1 6, 1800, Katherine Mary, second daughter of 
Charles, fourth Duke of Rutland, and died in 1828 ; 
Lady Katherine survived her husband only a few 
months, dying on March 10, 1829. Lady Hariett 
Cttve, No. 346, a three-quarters, the youngest daughter 
of Other Hickman Windsor, fifth Earl of Plymouth ; 
she was born on July 30, 1797, and married, June 19, 
1819, the Hon. Robert Henry Clive, the second son of 
Edwaixl, Earl of Powis, and succeeded to the Barony 

* Cecil Forester was one of the members for Wenlock, Shrop- 
shire. " This gentleman," says the author of a curiously interesting 
little work, ' Memoirs of Eminent English Statesmen," 1806, " is 
said to possess a moiety of the property of this borough, which is 
the first that ever sent Members to Parliament by virtue of a Charter 
from the Cnown (temp. Edw. IV., 1478), and he now sits for the third 
time in Parliament. In 1803 Mr. F. voted in favour of Mr. 
Calcraft's motion for going into a committee on the establishment 
of the Prince of Wales ; which question was lost by a minority of 
45. We believe that the Member for Wenlock has never yet 
spoken in the House." 


of Windsor in October 1855 ; she sat to Beechey just 
before her marriage, and died on November 9, 1869. 
This year's exhibition included Henry Bone's enamel 
of " His late Majesty, after a picture by Sir W. 
Becehey, R.A., in the late Ixxrd Somerville's collection, 
in which the horse is painted by J. Ward, Esq., R.A." 
(No, 490), Probably the picture of the year, taking 
popularity as a criterion, was Wilkie n s The Reading 
<yf the lVi?h inspired by a passage in " Waverlcy," and 
this was bought for the Royal Gallery at Munich. 

At the 1821 Academy Beechey had only five exhibits, 
and of these one wan a fancy subject, The Bird's Nest, 
No, 90, and another, which to some extent falls into the 
same category, a Portrait (}fa Lady mthe character of 
ITna, No, 34- The identity of the latter is revealed in the 
Account Book, in which we have two entries concerning 
the payment by Mrs. Meyrick for the portrait of Miss 
Fuller as Una; the price of 170 guineas was Beechey 's 
charge for a Bishop" 1 ** half-length canvan containing the 
whole figure. This MIHH Fuller wan one of the daughters 
of Augustus Elliot Fuller, Esq. of RosehUl, Waidron, 
whoue eldest son succeeded to the Meyrick estates in 
Anglesey, and this portrait is| probably now at the 
family seat at Jkxiorgan, The //$*/* I*&ct*ter 9 No. 334 
of this year, is obviously intended for Hugh Leycester, 
of whom a portrait wan exhibited two yearn previously, 
as already mentioned, Becchey painted three portraits 
of LeyceHter in 1819-20 ; the fin*t wan a half-length for 
Mr. Ashton Smith, 1819, and wan doubtless the poxirait 
exhibited in that year; the second wan another half- 



By perm i wan of W W. Hallam. Esq. 

1818-1838 155 

length for the Marquess of Anglesea and paid for in 
November 1819 ; and the third was a three-quarters, and 
paid for by himself in February 1820. One of these 
three portraits it is not certain which was engraved 
by Charles Turner in mezzotint and published on 
February i, 1822 : this print shows the figure to half 
length, wearing a dark coat buttoned, with large lappels 
and broad collar, white neckerchief, scanty grey hair, 
curtain background. A gentleman who has not been 
identified, and one, a three-quarters, of the Earl of 
Attesbury (Charles Bruce, second Earl, born February 
14, 1773, succeeded his father in 1814, created Marquess 
of Ailesbury July 17, 1821, and died January 4, 1856), 
conclude Beechey's exhibits of this year, which obviously 
was an unimportant one for him. As an exhibition the 
Academy of this year appears to have been a remarkable 
success. "The fifty-third exhibition of the Royal 
Academy " (says one of the newspapers of this time) 
" closed on Saturday last. The money paid at the doors 
since the opening this year has exceeded that of any 
former exhibition by at least one thousand pounds." 
If Beechey himself was represented by fewer works than 
usual, the numbers were at all events kept up to the 
average by his son George, who had three portraits 
hung: those of J. Tullock Osborn, the Countess of 
Waldegrave, and the Earl of Sheffield, all of which are 
probably now ascribed to his much greater father. 

By the time of the opening of the 1822 Academy 
various changes had taken place. E, H. Baily, Richard 
Cosway, and Joseph Farington no longer appear in the 


list of R. A.s, and Richard Cook is the only new name 
whilst C. R. Leslie and George Clint were elected to fill 
up vacancies in the body of Associates. Beechey's 
exhibits this year were again only five in number, but 
one of these was of more than ordinary importance ; it 
was a picture of H.R.H. the Duchess of Kent and the 
Princess Alexandrina Victoria, No. 66. The Duchess 
was the daughter of H.S.H. Francis Duke of Saxe- 
Coburg-Saalfield, was born in 1786, married on July 
ir, 1818 Edward Duke of Kent, fourth son of 
George III, and died on March 16, 1861. The Princess 
(born in 1819, ascended the throne in 1837, and died in 
1901) was afterwards Queen Victoria. The full descrip- 
tion of this interesting work is as follows : Three-quarter 
length life-size of the Duchess seated to right on a sofa 
black dress ; book in right hand, left arm encircles the 
Princess, in white dress and blue sash and standing on 
the sofa, facing and holding a miniature of the Duke in 
her hands ; architectural and landscape background ; 
canvas 56 by 44. This picture was the property of the 
King of Belgium, and was given by him to Queen 
Victoria, who lent it to this exhibition at South 
Kensington, 1868, and to the Victoria Exhibition of 
1891-2, when it figured as No. I. It is now at Windsor, 
and was etched by W. Skelton, whose rendering of it 
has frequently been repeated, e.g., in Karslake's series 
of "Twelve Portraits of Her Majesty," 1897. An 
enamel of it (10 J in. by 8J in.) by H. Bone was exhibited 
at the Royal Academy of 1824, No. 432. An interesting 
letter concerning this picture is now the property of 

158 SIR W1JLL.IA1V1 

trait, done by Charles Turner for Captain Brenton's 
" Naval History/' August 1824, shows the admiral at 
half-figure, directed to right, looking at spectator, in 
naval uniform with Order and sash, no hat, left hand 
resting in waistcoat ; the original or a replica was in 
theBeechey sale at Christie's, June u, 1836, lot 37, 
and realised 17 guineas. 

Sir John Beretford, No. 238, was another distinguished 
naval officer (born in 1766, and died October 2, 1844), 
Vice-Admiral of the White, K.C.B., G.C.H., &c., and 
was created a baronet on May 21, 1814. The mezzotint 
engraving by Thomas Hodgetts, February 1828, shows 
the Admiral to half-figure, directed to front and looking 
up to left, in uniform with sash, and various orders and 
decorations, no hat. A replica (" a head," or three- 
quarters, i.e., about 30 in. by 25 in.) was in the 
Beechey sale of 1836, when it was bought in at seven 
guineas; it was subsequently offered in the sale at 
Rainy's in July 1839, when it found a purchaser at 
thirteen shillings. 

Beresford portraits form a somewhat conflicting 
chapter in Beechey's career. The portrait just described 
was probably that for which Sir John Beresford paid 
^75 in 1822. In 1814, Beechey painted for Sir John 
Beresford a whole-length portrait of Lady Beresford 
and Child ; but this lady could not have been the first 
wife of the famous vice-admiral, as she died in July 
1813, and he did not again marry until August 17, 
1815. I n 1817, he painted a three-quarter canvas of 
Captain Beresford and Sisters, and the identity of these 
is unsettled. The engraved picture known as Adoration 

By pei mission of Major Jolm Cohn Wardkw 

1818-1838 157 

Mr. Ernest Beechey. Captain Conroy, writing from 
Kensington Palace on May 22, 1821, is "commanded 
by the Duchess of Kent to return him Her Royal High- 
ness's best thanks for his letter of yesterday" and to say 
that ct on Monday next at one o'clock H.R.H. will be 
ready to receive Sir William ; the Duchess regrets being 
obliged to delay it to that day, but at this moment the 
Princess Victoria has a slight cold." Beechey received 
210 guineas for this picture, which is painted on a 
Bishop's half-length canvas. 

The Rev. Dr. Pigot, who figures first (No. 27) among 
Beechey's exhibits of 1822, was William Foster Pigott, 
of Abingdon Pigotts, Cambridgeshire, a D.D. and F. A.S., 
who was appointed chaplain to the King in 1793, was 
rector of Mereworth, Kent, and Clewer, Bucks ; he died 
at Mereworth onFebruary5,i827,aged seventy-nine years. 
This portrait was engraved by William Ward A.R.A., 
and shows Dr. Pigott to half figure, facing towards and 
looking to front ; the engraving was exhibited at the 
Academy of the year following that in which the 
portrait appeared (No. 483). The picture, a three- 
quarters, was painted several years before it was 
exhibited, the two payments being entered in October- 
November 1816. Sir Alexander Cochrane, No. 95, was 
the distinguished naval officer, a younger son of the 
eighth Earl of Dundonald; born in 1758, he entered 
the navy and served in the West Indies 1780-2, in 
1804 he was promoted to rear-admiral, to K.B. in 1806, 
admiral 1819, was commander-in-chief at Portsmouth 
in 1821, and died in 1832. An engraving of this por- 


trait, done by Charles Turner for Captain Brenton's 
" Naval History," August 1824, shows the admiral at 
half-figure, directed to right, looking at spectator, in 
naval uniform with Order and sash, no hat ; left hand 
resting in waistcoat ; the original or a replica was in 
theBeechey sale at Christie's, June u, 1836, lot 37, 
and realised 17 guineas. 

Sir John Beresford, No. 238, was another distinguished 
naval officer (born in 1766, and died October 2, 1844), 
Vice-Admiral of the White, K.C.B., G.C.H., &c., and 
was created a baronet on May 21, 1814. The mezzotint 
engraving by Thomas Hodgetts, February 1828, shows 
the Admiral to half-figure, directed to front and looking 
up to left, in uniform with sash, and various orders and 
decorations, no hat. A replica (" a head," or three- 
quarters, i.e., about 30 in. by 25 in.) was in the 
Beechey sale of 1836, when it was bought in at seven 
guineas; it was subsequently offered in the sale at 
Rainy 's in July 1839, when it found a purchaser at 
thirteen shillings. 

Beresford portraits form a somewhat conflicting 
chapter in Beechey^ career. The portrait just described 
was probably that for which Sir John Beresford paid 
;75 in 1 8 22. In 1814, Beechey painted for Sir John 
Beresford a whole-length portrait of Lady Beresford 
and Child ; but this lady could not have been the first 
wife of the famous vice-admiral, as she died in July 
1813, and he did not again marry until August 17, 
1815. In 1817, he painted a three-quarter canvas of 
Captain Beresford and Sisters, and the identity of these 
is unsettled. The engraved picture known as Adoration 

By po mission ofAfotor John Colm Wardlmp 


is said to be an idealised portrait of Miss Georgina 
Beresford. Lord Grantley has, at one of his country 
houses, a small picture of Miss Beresford, in Empire 
dress, whilst a portrait of Miss Elizabeth Beresford, 
afterwards Mrs. Ladbroke, was exhibited at the 
Academy of 1836, and will be duly referred to. In 
addition to all these, the following letter (in Mr. Ernest 
Beechey's collection) deals apparently with portraits 
which are not entered in the Account Books : 

HALIFAX, NOVA SCOTIA, October 10, 1819. 

(( DEAR SIR, I am induced to trouble you with a 
few lines in consequence of the following paragraph 
extracted from a letter lately received by Mrs. Beres- 
ford. c Mrs. Knight asked me if Mr. Gilby had ever 
received the portraits, as Sir W. Beechey had heard 
nothing from any one since they were sent, and has not 
been paid.' 

" I feel assured that it is unnecessary for me to enter 
into any fuller explanation on this subject than to 
request that, however this mistake may have originated, 
you will have the goodness to have it removed, and I 
will beg the favour of you to address a line to him also. 
The safe arrival of the portraits in Yorkshire would 
have been communicated, had not Miss Coltman long 
ago written us word that she had made you acquainted 
with their having been received at Beverley and highly 

" Mrs. B. desires I will present her best compliments. 
" I remain, dear sir, yours truly, 

(Lt.-Col and Deputy Quartermaster-Gen.) 


Beechey's last picture of the 1822 Exhibition, No. 
288, was " Venus and Cupid Cupid having lost his 
arrows, etc., at dice with Ganymede, is reproved by 
Venus see < Prior's Poems.'" The artist, as we have 
seen, exhibited three pictures of " Venus and Cupid" at 
the British Institution, 1806-1811 ; and this picture of 
1822 is probably another version of that which he sent 
to the British Institution of 1824, No, 50, with the 
slightly altered title of Venus chiding Cupid JOT having 
lost his low and arrows with Ganymede, at hazard (from 
Prior's " Cupid and Ganymede," p. 75). The size of the 
picture is there given as 42 in. by 36 in. This is 
probably the picture now at Pet worth (" Catalogue of 
Pictures at Petworth," 1856, No. 58), Lord Leconfield's 
seat, and concerning which A. A, Watts says, in " The 
Cabinet of Modern Art," 1836, p. 104: "The Cupid 
and Psyche" [i.e., Venus and Cupid] in the same gallery 
(Petworth) is perhaps one of the most graceful and 
beautifully coloured of Sir William's pictures. The 
head of Cupid was painted from the portrait of Master 
Locke, the magnificent portrait of whose aged mother, 
by Lawrence, attracted so much attention in the 
exhibition of the Royal Academy two or three years 
ago [i.e., 1829]." One of the chief art events of 1822 was 
the knighthood, conferred on August 29 by George IV., 
of Raeburn, President of the Scottish Academy and first 
portrait-painter to the King in Scotland. Beechey sent 
him his congratulations, and the following letter is an 
acknowledgment : 

1818-1838 i6i 

"EDINBURGH, Sept. 7, 1822. 

DEAR SIR, Yesterday I had the pleasure of 
your kind letter, and do assure you that the hearty con- 
gratulations of my friends, among whom I have much 
reason to rank Sir W. Beechey, have not been less 
acceptable to me than the honour which His Majesty 
has been pleased to confer upon me. Accept my best 
thanks for your kind wishes, and allow me to add that 
I have never forgotten the liberal manner in which you 
were pleased to talk of any little merit I may possess, 
even long before I had the pleasure of knowing you 
and also since has reached my ears from different 
quarters. But this is just what I would expect from 
Sir W. B. an able artist himself and far above that 
little jealousy which sometimes enters into the feelings 
of artists of inferior note. I need not say that you 
have always had my best word and my best wishes in 
the fullest sense of the word. Our friend Wilkie is 
here to whom I have sent your letter ; he leaves this 
[place] to-day and by him I send this letter. 

" Ever yours, 


Of Beechey's seven portraits in the Royal Academy 
of 1823, the names of only two are known, both of 
which are given in the catalogue, No. 29, Mr. Sym/mons, 
and No. 439, Mr. Ward. The latter was John Ward, 
an attorney (1756-1829). The picture was engraved 
** at the expense of his friends by Henry Meyer from a 
painting by Sir W. Beechey, "Si. A/ 9 (size 5 J in. by 4^ in.), 


and shows half figure of an elderly man directed to 
right, looking at spectator, dark coat buttoned, white 
waistcoat and frill, with hair thin and grey. The 
original picture was a three-quarters, as a companion to 
one of Mrs. Ward, painted at the same time. In 1825 
a Mr. Ward again appears in the Account Book, this 
time for a Kit-Cat size portrait ; there is, however, 
nothing to suggest that the two Mr. Wards were one 
and the same person. The " Mr. Symmons " was 
probably John Symmons (1781-1842), a distinguished 
classical scholar and translator, son of Charles Symmons, 
the biographer of Milton, whose portrait by Beechey 
was in the Academy of 1794; this portrait of 1823 
does not appear in the Account Book. 

The Academy of this year was in many ways an 
interesting one. Nollekens the sculptor was dead, and 
a portrait painter of great talent, Henry W. Pickersgill, 
was the new Associate. Lawrence's exhibits included 
the poi-traits of the Earl of Harewood, the Archbishop 
of York (the Hon. Edward Venables Vernon), Sir 
William Knighton the first and third have been 
engraved the Chancellor of the Exchequer, Mr. Van- 
sittart, and the Countess of Jersey. There were also 
Wilkie's portrait of the Duke of York and his "Parish 
Beadle w ; Lonsdale's portrait of W. Roscoe, Northcote's 
" Miraculous Draught of Fishes," and Joseph's portrait 
of T. Bayley, the poet. 

Of the six exhibits of the following year (1824), 
again the identities of only two are known Sir George 
Cocklurn, K.G., C.B., No. 64, and T. Lowndes, Esq., 

1818-1838 163 

No. 124. The former, like two of the officers whose 
portraits were in the 1822 Academy, was a distinguished 
naval man, and was both Admiral of the Fleet and 
Major-General of Marines. He was born on April 22, 
1772, made a KC.B. in 1815, and conveyed Napoleon 
to St. Helena, of which place he was Governor, 1815-16 ; 
he succeeded his brother as eighth baronet in 1852, and 
died on August 19, 1853. This portrait, a whole length, 
was presented to Greenwich Hospital by Sir James J. 
Hamilton, Bart, in 1876. Thomas Lowndes, a wealthy 
London merchant, who died at Macclesfield on November 
13, 1835, aged 68, was a generous patron of Beechey, 
who in 1823 not only painted the above whole length, 
but also one of Lowndes' father, and in 1824 one of his 
daughters, Miss Lowndes, the Lowndes payments 
amounting to ^546, in addition to " a present to Sir 
William" of 50 guineas in December 1823. These 
portraits have not been traced. 

With one exception (No. ill, Portrait of a Lady) 
the names of Beechey's six exhibits of 1825 were stated 
in the catalogue, and nearly all were well-known people. 
JElisha Dehagite (No. 7) was the town clerk of Norwich, 
where he was born on May 16, 1755; he died on 
November 1 1, 1826, and this portrait, painted " at the 
request of his friends, and paid for by public sub- 
scription," is referred to in the obituary notice of 
Dehague in the Gentleman s Magazine of December 
1826. The Lady and Daughter of Sir R. P. 
Jodrell 9 Bart. (No. 92), were* Amelia Caroline King, 
whom Sir Richard married on December 12, 1814 (she 


died on January 1 8, 1860), and her only daughter, 
Amelia Vertue, who married in July 1842 Charles 
Fitzgerald Higgins, of Waterloo Park, co. Mayo ; from 
the two payments of 125 guineas each in 1824 and 
1825 this picture would be a whole length. No. 97 
was the fourth portrait of the Duke of Gloitcester, 
which the artisb had exhibited at the Royal Academy 
within the space of eighteen years, and it is probably 
the one (three-quarters length to right, in robes with 
the collar and George) which W. Say engraved in mezzo- 
tint in January 1826. No. 194 was Philip Meadows 
Martineau (1752-1829), surgeon to the Norfolk and 
Norwich Hospital; it was engraved by Lupton, but 
the engraving has become scarce, and no example 
of it is in the Print Room of the British Museum. 
Another distinguished native of Norfolk figured under 
No. 283, Charles Savill Onley^ third son of Robert 
Harvey, Mayor of Norwich; he was a barrister, Re- 
corder of Norwich, chairman of the Norfolk County 
Sessions, M.P. for Norwich in 1812, and twice for 
Carlow. In 1812 he took the surname of Savill 
Onley, his mother's maiden name ; he died on August 
21, 1843. This portrait is now the property of 
Colonel Unthank of Intwood Hall, Norwich (Mrs. 
Unthank is a granddaughter of Mr. Savill Onley), and 
shows the subject seated at a table with the draft of a 
Parliamentary Bill in his hand, on which is the date, 
"n March 1825 " ; the canvas is 50 in. by 40 in. We 
may here mention a second Beechey portrait in Colonel 
Unthank's collection, viz., a portrait of his mother, 


In the Collection qf Henry J. Pfungst, JBsq 

1818-1838 165 

Marian Muskett, only daughter of Joseph S. Muskett, 
of Intwood Hall, Norwich, and wife of Clement Un- 
thank ; she is painted as a girl of thirteen years of age, 
in white dress with blue sash and coral necklace, holding 
in her lap a little pet spaniel ; the canvas is 30 in. by 
24 in. As Dehague, Martineau and Onley were Norwich 
men, it will be seen that Beechey still kept in active 
touch with the city which had for him so many early 
associations and ties. This is, curiously enough, con* 
firmed by the entry in the Account Book, March 12, 
1825, in which it is stated that the first instalment 
for the Onley portrait was paid at Norwich j the por- 
trait was a half length. 

Three of the five exhibits of 1826 (two were portraits 
" of a lady ") were of eminent men. The Rev. Dr. 
Martin Davy>D.D., F.A.S., F.R.S , No. 85 (whose por- 
trait is at Heacham Lodge, Norfolk), was a physician 
and Master of Caius College, Cambridge, from 1803 to 
1839, tk e J ear ^ kis death, Prebendary of Chichester, 
and Vice Chancellor of the University in 1803 and 
1827; he was born in 1763. Sir George Nayler^ 
K.T., K.G.H., K.T.S. (No. 104), was distinguished in 
another manner, being one of the most eminent 
genealogists of his time, holding in this respect many 
high appointments ; he was born about 1764, knighted 
in 1813, and died in 1831, after commencing 
a sumptuous work on " The Coronation of King 
George IV.," 1824. The Beechey portrait was engraved 
by E. Scriven (** a private plate," according to Evans), 
and the engraving shows the subject to half length 


directed to right, looking to front, and wearing three 
decorations; the plate measures i6 T Vin. by i2-|-in. 
An enamel of the portrait by J. Lee was exhibited at 
the Royal Academy of 1843, No. 494. Sir John 
Douglas Astley, Bart., M-P. (No. 131, a Bishop's half 
length), of Enerley, Wilts, was born June 27, 1778, 
created a baronet in August 1821, and died January 19, 
1842. His grandson was the famous sporting baronet, 
Sir John Dugdale Astley. 

With the 1822 Academy Sir William Beechey began 
to again exhibit an occasional fancy picture ; his first 
exhibit of this year, No. 86, Lilian, was inspired by a 
passage in the " Lord of the Bright City," p. 73. 

" Up the maiden gaz'd, 
Smiling a pale and terrified delight, 
And seem'd for that lov'd warbler in her breast 
Beseeching mercy." 

There were only two named portraits (the third was a 
portrait of a gentleman) in this year's exhibition, 
No. 152 was of Captain Charles Marsh Schoniberg, 
JZ.JV., who was born in 1779, and who served in the 
Minatour at the battle of the Nile, and in the 
Foudroyant in Egypt ; he was promoted captain in 
1803, and was in command of the frigate squadron 
which fought a squadron of French frigates off the 
coast of Madagascar, February 20, 1811; appointed 
commander-in-chiefat the Cape of Good Hope in 183 2, 
he was made K-C.H. in the same year, and died in 1835. 
This portrait was lent to the Naval Exhibition of 1891, 

1818-1838 i6y 

No. 590, by General G. A. Schomberg, C.B. ; a study 
for, or a replica of, it was in the Beechey Sale at 
Christie's, June n, 1836, lot 41, when it was bought 
in at 6 i6s. The second portrait was of Major 
Henry Dundas Campbell, of the 8th Regiment of 
Dragoons (Hussars), and now belongs to his nephew, 
Captain Corse Scott, of Highfields, Southampton. 

The 1828 Academy included two portraits of distinctly 
personal interest. The first of these (No. n) carried 
the fancy title of The Little Gleaner, and was of the 
artist's daughter Anna Dodsworth Beechey ; it had 
been painted some twenty years before it was exhibited, 
and a description of it, with some interesting particulars, 
will be found further on in the chapter dealing with 
the Beechey family and their portraits. No. 60 was of 
Lord Graniley (Fletcher Norton, third Baron), who had 
three years previously married Sir William's daughter 
Charlotte ; Lord Grantley's portrait is a whole length, 
in robes. Beechey had painted the first baron (1716- 
1789), the eminent lawyer who was elected Speaker of 
the House of Commons in 1769 ; this portrait, a three- 
quarter length, seated, profile to right in Speaker's 
robes (canvas 56^ in. by 44 in.), was an early work, and 
was lent to the South Kensington Museum in 1786, 
No. 638, by his nephew, the third baron, Beechey's son- 
in-law. The Bishop of Bath and Wells (No. 146) was 
Dr. George Henry Law, of whom Beechey exhibited 
another portrait at the Academy of 1816. Another dis- 
tinguished churchman of the 1828 Academy was Dr. Jo An 
Lamb (1789-1850), D.D., who was educated at Corpus 


Christi College, Cambridge, of which he was master from 
1822 to 1850, and of which college he wrote a continua- 
tion to Masters's " History " ; the portrait is now at the 
Master^ Lodge of the College. A portrait of an 
officer (No. 51), one of A Lady of Quality (No. 87), 
and one as Flora one of at least two painted as such 
conclude the 1828 exhibits. The last of these may 
have been a portrait of Julia, daughter of the Hon. 
William Wyndham, and wife of Richard Raster, Esq., 
of Aldingbourne, Sussex (whom she married in April 
1830) ; if so, it must be identical with the portrait ot 
Mrs. Haster as Flora now at Petworth, Lord Leconfield's 

Four portraits and a fancy subject formed the artistes 
exhibits at the 1829 Academy, at which, it may be 
mentioned, Etty first appears as a fully-fledged 
Academician and G. S. Newton as an A.R.A. Captain 
Usher, No. 15, was doubtless one of the several officers 
of this name who figure in the Army Lists of the period 
but his exact identity remains unsolved. 

No. 43 had for its title The Lady in St. Swithirfs 
Chair, from the first volume of " Waverley," with the 
following lines : 

" Is it the moody owl that shrieks ? 
Or is it that sound betwixt laughter and scream 
The voice of the demon who haunts the stream ? 

The lady in the picture is the Hon. Mrs. Norton, the 
Sappho of her day, the " Byron of modern poetesses," 
the fairest of the "Three Graces," as the three 

1818-1838 169 

daughters of Thomas Sheridan were called. Mrs. 
Norton's career is too well known to be entered into 
here. It may, however, be mentioned that she married 
(July 30, 1822) George Chappie Norton, a barrister, 
and a " selfish, worthless, indolent sensualist ; " he was 
the younger brother of the second Baron Grantley, 
who, dying without issue, was succeeded by his nephew, 
the eldest son (the husband of Beechey's daughter) 
of the talented Mrs. Norton. The picture belongs 
to Lord Grantley, and is thus described in the 
Gentlemarfs Magazine of June 1829, p. 539 : " It 
represents a lady attired in a white under dress, with 
robe of yellow, and a black bodice, leaning on one side 
of the stone chair and looking with stifled fear and 
forced courage to the spot whence the sound comes. In 
her hand she holds a crucifix, and her brows are 
admirably drawn together. In the air appears the 
Spirit of the Stream one of the Macbeth tribe of 
witches, with haggard face, ferret eyes, hood and wan. 1 " 
A picture with the same title but with another quotation 
was exhibited by Beechey at the British Institution in 
1830, No. 52, the size being given as 114 in. by 76 in. 
The two exhibits wei*e, it may be assumed, the same 
picture. Charles Dumergite, Jun., Esq. (No. 208), 
was the son and namesake of an eminent surgeon who 
practised in New Bond Street, London, in 1790, and 
who removed to Albemarle Street in 1818, where he 
remained for many years either the father or the son 
was there in 1831, according to Boyle's " Court Guide." 
The portrait of E. H. Baity, R.A., No. 301 the 


sculptor, born at Bristol, 1788, studied under Flaxman, 
elected A.R.A. in 1817 and R.A. 1821, died May 
22, 1867 was a complimentary one, Baily^s bust of 
Beechey having been exhibited at the Academy of 1826, 
No. 1095 ; the portraits were doubtless exchanged, and 
Baily's bust of Beechey is now the property of the 
artist's great - granddaughter, Mrs. Commeline, of 
Beaconsfield Rectory, Bucks. Beechey^ portrait of 
Baily was engraved as a private plate. The Rev. 
Charles Este, whose portrait (No. 444) was the last of 
the Beechey exhibits of 1829, was, there can be little or 
no doubt, a cleric who, like " Parson Bate," combined 
the two callings of church and journalism ; he was one 
of the reading chaplains at the Chapel Royal, White- 
hall, and a contributor to both The Morning Post 
and The World (which he edited for a time) ; he wrote 
"My Own Life," 1787, a " Journal " of his travels 
on the Continent in 1793? and died in 1829, at the age 
of 76. 

The 1829 Academy was the last at which Sir Thomas 
Lawrence acted as President, and his death on January 
7, 1830, involved the election of a new President, 
the ballot showing the following result: Shee, 18; 
Beechey, 6 ; Wilkie, 2 ; Phillips, I ; Callcott, i. 
(C. R. Leslie, " Autobiographical Recollections, 1860, 
vol. i. p. 1 8). Beechey would have made an admirable 
President, but his advanced years were against him, 
and so his younger rival and friend was elected to the 
highest distinction possible in the world of English art. 

Two of Beechey^s seven pictures in the 1830 

By permtssion of Megu s P and D Colnaglii and Co 


Exhibition were anonymous ones of gentlemen whose 
names have not been obtained* No. 40 was Psyche^ 
which, with other compositions of the same name, 
are dealt with together on pp. 84-5. The Duke of 
Somerset, Mo. 47, was Edward Adolphus, eleventh 
duke (he was born in 1775? succeeded to the title in 
1793, and died in August, 1855), and the portrait was 
an " extra whole length/ 1 in robes ; a replica of it 
was in the Beechey sale at Christie's, June n, 1836, 
when it was bought in at 18 guineas ; at the sale at 
Rainy^s on July 19, 1839, lot 32, it was "passed. 1 ' 1 
The Bishop of Ely (No. 156) was Bowyer Edward Sparke 
(1760-1839), Dean of Bristol and Bishop of Chester in 
1809, and of Ely in 1812 ; this picture was engraved in 
mezzotint by G. EL Phillips, and published in June 
1829, nearly twelve months before it was exhibited, 
and may be the Bishop's half-length of Dr. Sparke, 
which appears in the Account Book under the dates 
March 9, 1815, and January i, 1817. The engraving 
shows the Bishop to nearly whole length, seated, in 
robes and wig, directed to left, looking at spectator, 
right hand on top of folio volume which rests on his 
knee ; landscape and pillar background. Bishop Sparke 
was a Cambridge man, and so also was Beechey's No, 
193, Joshua King) Esq., Fellow of Queen's College, 
Cambridge; this portrait was "presented by the 
undergraduates of that College to be placed in their 
hall." King was President of the College 1832-57. 
No. 232, The Late Chicheley Plozvden, Esq., was Richard 
Chichele Plowden, of Ewhurst Park, near Basingstoke, 


a director of the East India Company from 1803 to 
1830; he died in January 1830, and the portrait is 
now the property of his great-grandson, Mr. Alfred 
Chichele Plowden, the metropolitan magistrate ; in the 
Account Book of 1819 two payments are entered 
for " the Miss Plowden s two in one picture, half- 

Beechey's most important contributions to the 1831 
Academy were a pair of companion whole-length por- 
traits of the King and Queen, William IV. and Queen 
Adelaide, both painted for the Trinity House, the 
Ring being Master of that corporation. He also 
painted two large pictures of William IV., one a whole 
length in his robes, and the other an extra whole length 
in his robes on the throne, and of each of these 
a replica was in the artist's sale at Rainy's, July 19, 
1839, lots 41 and 42, but both were " passed," the 
former having been bought in at Christie's on June n, 
1836, at 135 guineas. He also exhibited two other 
portraits of his Majesty at two successive Academies 
one in 1832, No. 197, and the other in 1833, No. 71. 
One of these may be the portrait which the Baroness 
Burdett-Coutts lent to the Naval Exhibition of 1891, 
No. 379. The portrait of The Queen^ Amelia Adelaide 
Louisa Theresa Caroline, eldest child of George, Duke 
of Saxe-Coburg-Meiningen (she was born in 1792, 
married the Duke of Clarence in July 18, 1818, and 
died December 2, 1849), was engraved by S. W. 
Reynolds, and the first state of the engraving is dated 
May 27, 1831, so that the picture was engraved before 

1818-1838 173 

it was hung at the Academy ; the engraving, of which 
there were two plates, one whole-length, standing, 
facing front, pearls in hair, pearl brooch at bosom, 
black velvet dress, long lace scarf, and the other with 
the Queen to waist ; the latter plate is dated 1834, and 
both are described in Mr. Whitman's admirable mono- 
graph on S. W. Reynolds. In 1834 Lupton engraved 
a portrait in mezzotint of the Queen after Beechey, 
half-figure, in dark velvet dress cut low, with broad 
white muslin collar, four rows of pearls in her hair, and 
long necklace. Beechey doubtless painted a number of 
replicas, probably with variations both in details and in 
sizes of the whole length, of which a full-sized duplicate 
of the whole-length, " in blue velvet dress, holding a 
bouquet/' was bought in at the Beechey sale at 
Christie's on June n, 1836 ; at the sale at Rainy's in 
1839 it sold for 10 guineas* William F. Norton,, E$q. 9 
No. 127 in the Academy of 1831, was doubtless William 
Fletcher Norton, a neighbour of the artist, with a town 
house at 66 Harley Street, and a country one at Elton, 
near Bingham, Notts ; the name suggests that he was 
a relative of the Grantley family. The Lobe Lord 
Mayor, No. 177, was John Crowder, whose year of 
office (1830) seems to have been one of an uneventful 
character, since he is not even so much as mentioned in 
Walford's " Old and New London." 

In addition to the portrait, already mentioned, of the 
King (William IV.), Beechey's five exhibits at the 1832 
Academy included a companion pair of portraits (Nos. 
87 and 216) of Viscountess Hood and Viscount Hood. 


The Viscount Hood at this date was Henry, second 
Viscount (1/53-1836), who succeeded to his father's 
dignities in January 1816 ; his wife, whom he married 
in 1774, was Jane, daughter and heir of Francis 
Wheler of Whitley, and died on December 6, 1847. 
S. B. Mash, Esy.y No. 254, was probably identical with 
the T. B. Mash of the Lord Chamberlain's Office, 
Stable Yard, St. James's, mentioned in Boyle's " Court 
Guide" 5 ' of 1831; and No. 476, Dr. Ashbwrne, may 
have been intended for Dr. Ashburner, of 5 Wimpole 

Beechey had only two pictures in the 1833 Academy, 
the third one of The JCinff (No. 71), and one of 
the Bishop of Chichester (No. 213), Dr. Edward Maltby 
(1770-1859). The latter portrait is a three-quarter 
length to left, standing, in robes, a book in his left 
hand and his glasses in his right, on canvas 56 in. by 
44 in., signed with the artist's initials, " W. B./' and 
date " 1832 " ; it was exhibited at South Kensington in 
1868, No. 429, by the Bishop of Durham, and was 
engraved in mezzotint by T. Lupton in September 1834. 
A portrait of George Maltby, father of the Bishop, and 
painted in 1785, is at the Durham University. In 1833 
Beechey also exhibited at the British Institution a 
fancy picture which he called A Sketch from Nature 
(34 in. by 27 in.), which represented, according to the 
Gentleman's Magazine, "a gipsy encampment," and 
was " painted with much interest and truth. It is a new 
line for the pencil of the veteran artist, and the essay is 
a very successful 

1818-1838 175 

The first of the five portraits of 1834 was No. 2O, 
Miss Home, daughter of Sir William Home (1774- 
1860), Attorney-General to Queen Adelaide, Solicitor- 
General, knighted in 1830, and Master in Chancery 
1839-52. Sir William Home was a neighbour of the 
artist, living at 49 Upper Harley Street. Writing to 
the artist's son, the Rev. St. Vincent Beechey, at Hilgay 
Rectory, near Downham, on March 15 [1834], " C H." 
says : " I had the pleasure, a little while since, of seeing 
Sir W. Beechey in apparent good health and spirits ; 
he was painting a very nice portrait of the present 
Attorney-General's daughter. Miss Home, and seemed 
to be enjoying his employment in all possible comfort, 
by the drawing-room fire, and as earnest in the business 
as if he were only bordering on 30, instead of 80. We 
have not, as yet, had the pleasure of seeing either him or 
Lady Beechey at dinner, but they promise as soon as Sir more decidedly recovered they will give us a day." 
Nos. 87 and 308 of the same Academy were portraits 
respectively of Miss Wilkins and Archdeacon Wilkins 
The archdeacon was George Wilkins (1785-1865), 
younger brother of the well-known architect, William 
Wilkins, R. A., the friend of Beechey ; he was educated 
at Caius College, Cambridge, and was appointed Arch- 
deacon of Nottingham in 1832. Miss Wilkins was 
doubtless his daughter. As far back as 1813 Beechey 
had painted a half-length portrait of William Wilkins 
(1778-1839), and this is now the property of the 
architect^ great grandson, the Rev. W. H. Wilkins, of 
St. Silas** Vicarage, Penton Street, London. In 1816 


Beechey made a copy of this portrait for Mr. Wilkins ; 
and in 1824 he made "a copy of Mrs. Wilkins and 
child for his [i.e., William Wilkins's] sister. Mrs. 
Harkness, No. 162, remains for the present unidentified 
beyond the name. 

With one exception (No. 323, GirTs Head) the six 
exhibits are named ones. No. 67 was Mrs. Herbert 
N. Evans; No. 160 of Sir Charles Scudamore (1779- 
1849), physician to Prince Leopold of Saxe-Gotha, 
knighted in 1829, and the author of medical works. 
Miss Emma Robarts was probably Emma Roberts 
(No. 208), the authoress, who died in 1840, and who 
wrote a number of works on India, where she for a time 
resided. No. 370 was the artists own daughter, Mrs. 
Innes, to whose portrait reference will be made later on. 
Mrs. Charles Storer was No. 392. 

The first of the five Academy pictures of 1836 was 
Miss Beresford) and this portrait is interesting from the 
fact that it was begun many years previously. It repre- 
sented Elizabeth, only daughter of Marcus Beresford, 
grandson of the first Marquis of Waterford, by Frances 
Arabella, youngest daughter of Joseph, first Earl of 
Milltown. Miss Beresford married on June 26, 1827, 
Felix Ladbroke, Esq., of Headley, Surrey (he died 
March 14, 1840), the banker. Writing from Hampton 
Court on January 21, 1836, to " Dear Sir William," her 
mother, Lady Frances Beresford, says : ** I quite forgot 
my dear child's picture, but I am glad to hear you are 
preparing it for the Exhibition, as there it will be seen 
by some of those who, I think, would do well to make 

Collection A 

Buckingham Palace 

1818-1838 177 

it their own. Mrs. Ladbroke is very much changed in 
appearance, she is extremely fat, and all vestige of 
her former self lost from that circumstance ; but what 
she was is not forgotten, and I hope the picture may 
meet with a purchaser if you feel disposed to part 
with it when the exhibition closes. In the meantime 
you might let me know what is the value you set 
upon it I mean the intrinsic worth of the painting." 

A Miss Wood was No. 78 ; Dr. Southey, M.A., 
No. 219, was Henry Herbert Southey (1783-1865), 
younger brother of Robert Southey, the poet ; he be- 
came physician to George IV. in 1823, and to Queen 
Adelaide, was elected F.R.S. in 1825, and a Commis- 
sioner in Lunacy in 1836. Mr. Sandby, No. 364 (a 
member of the younger generation of artists of that 
name), and the artist's portrait of himself, No, 382, 
concluded the exhibits of this year. This latter is 
probably the portrait which was " finished from life by 
John Wood," and now in the National Portrait Gallery. 
Beechey left Harley Street in 1836, and the contents 
of his studio and his collections were offered for sale at 
Christie and Hanson's on June 9-11 of this year. 
He thenceforth resided with his son-in-law, Mr. Jackson, 
at Hanipstead Heath, but his address in the Academy 
Catalogues of 1837 and 1838 is given as 2 Henrietta 
Street, Cavendish Square. He had four portraits in 
the 1837 Exhibition, two of " anonymous " ladies ; one 
was of The late Mr. ParJce, No. 41, and he was John 
Parke (17451829), the oboe player, of whom Beechey 
had exhibited a portrait at the British Artists, Suffolk 



Street, 1830, No. 92 ; Beechey therefore must have 
painted two portraits of him, and one of these was in 
the Beechey sale at Christie^s in 1836, when it was 
bought in at 16 guineas; at the sale at Rainy 's in 
1839, when it was described as JL Head, it failed to 
find a purchaser. Mrs. Sharps was No. 46 r. The last 
Academy to which Beechey contributed in his lifetime 
was that of 1838, and to this he only sent one picture, 
No. 26, a portrait of The late Bishop of Madras ; this 
was Daniel Corrie (17771837), "who was educated at 
Cambridge, and was appointed Bengal chaplain in 1806, 
senior chaplain at Calcutta, 1817, Archdeacon of 
Calcutta 1832, and first Bishop of Madras, 1835. Sir 
William Beechey died at Hampstead on January 28, 
1839, but the Academy of that year contained one 
example of his work, a portrait of Miss Owen as 



SIR WIIXIAM BEECHEY was the happy father of eighteen 
children, of whom twelve grew up and married. Of 
these twelve, six were boys and six girls, three of each 
being dark and three fair. In a general way, a dis- 
tinguished person's children do not come much into 
their parenfs career, for they rarely carry on the family 
traditions, whether scientific, literary or artistic. With 
the Beechey family it is different. Several of his 
children were distinguished in various ways, and nearly 
every one was utilised by him as a model. Portraits of 
them when children and later in life are still preserved 
in the family, and it is interesting to note that the 
artistic gift has descended to Sir William Beechey's 
grandchildren and great grandchildren. 

Both Sir William and Lady Beechey were what would 
be described to-day as great " social " lights. They 
entertained largely, and formed many friendships which 
were lasting. One of their most intimate friends was 
that fine old " sea-dog " the Earl of St. Vincent, whose 
portrait (see p. 106), one of many of him by Beechey one 
of the strongest male portraits ever painted a head and 
shoulders, belonged until lately to the son of his god- 


child, Canon St. Vincent Beechey, at Denver, near 
Downham. Lord St. Vincent wrote some delightful 
letters to the Beecheys, and by permission of the 
owners, the late Canon Beechey and Mr. Ernest 
Beechey, we are able to print them in extenso. The 
first of these deals in fact with Frederick William 
Beechey (1796-1856), afterwards Rear-Admiral, who 
entered the Navy in 1806. The concluding paragraph 
of the letter is curious. The " man in embrio " for 
whom Lord St. Vincent had obviously been asked to 
stand as god-father was the late Canon St. Vincent 
Beechey, who was born on August 7, 1806 a few 
hours only before the letter was written many miles 
away (Canon Beechey* died on August 19, 1899, the 
last surviving son of the artist). The letter is as 
follows : 

" HIBERNIA, near USHANT, August 8, 1806. 

u My LEAR MADAM, Frederick [Beechey] dined with 
me yesterday and eat double allowance, for the poor 
fellow had been sea-sick all the way out in the 
Conqueror. Mr. Jackson, son of the master attendant 
of Plymouth Dockyard, has the care of him below and 
my nephew, John Parker, above. Your ladyship is 
heartily welcome to my name for the man in Embrio, 

* There were two Canons St. Vincent Beechey, father and son. 
The former held the living of Hilgay, Norfolk, and resided there 
until his death in 1899 ; his son was rector of Denver, Norfolk, at 
the time of his death in 1905. 


and with my best wishes to you, Sir William, and the 
colony, I remain, 

" Very sincerely yours, 


46 Sir William promises well, nous verrons comrne il 

There are three other letters from the same source, and 
these all show the affectionate regard in which the 
Beecheys were held by the great sea-captain. They do 

not call for comment. 

" ROCHETTS, Apnl 22, i8o8. 

"DEAR SIR WILLIAM, Many thanks for your con- 
gratulations, which have not found us so well as you 
and Lady Beechey wish ; the late winter weather having 
thrown us both back, and it is yet doubtful when we 
shall be able to remove to Town ; and to avail our- 
selves of the obliging proposal to view the Exhibition 
is impossible ; I will therefore thank you to withdraw 
the invitation to dine and to bestow it on some one 
more worthy of the distinction. Both Lady St. 
Vincent and myself are much concerned at the in- 
disposition of Lady Beechey, and with our best wishes 
to her, to you, and the whole colony, I always am, 
" Very sincerely y r H ble Servant, 


" ROCHBTTS, May 10, 1814, 

"MY DEAR MADAM, Many thanks for your very 
obliging congratulations upon a late event. I have 
great pleasure in acquainting you that Capt, Bicketts 


of the Vengeur has written to me in strong terms of 
praise of your son Frederick, Captain Curtis having 
permitted him to dine with his old captain. 

" With my best wishes to your ladyship and the whole 
colony, believe me to be, 

" Yours very truly, 


"RocHETTs, October 27, 1815. 

" Welcome from Paris, Johnny Adair ! 

" I heartily hope, Sir William, that the papers speak 
truth touching your lucrative employment there. Some 
Female Friends of mine having laid me under injunction 
to sit to Mr. Nollekens for a Marble Bust, you will 
oblige me very much by accompanying him to this 
place as soon after the I5th of November as may be 
convenient to you both, to stay as long as you and 
Mr. N. may like ; of course you will bring the necessary 
implements for correcting the censured part of the 
Portrait you painted for 

" Your steady Friend, 


"My best wishes to Lady B. and her numerous 

We may here print a letter from Sir Thomas Law- 
rence, which shows that even when the Beecheys were no 
longer young they entertained their friends with what 
was apparently an annual ball. 

By permission of Monsieur C. Sedelmeyer 


" RUSSELL SQUARE, June 27, 1824. 

" DEAR LADY BEECHEY, I regret extremely that from 
two causes, viz., slight indisposition and the necessity 
of rising early on Wedy. morning last, I denied myself 
the pleasure of attending your party on Tuesday. 
.Remembering how pleasant the same character of Ball 
was last year, I wanted not the report of friends to add 
to my vexation for the loss of so much rational amuse- 

u With many thanks for your remembrance of me on 
this occasion, I remain, 

" Dear Lady Beechey, 

" Most sincerely yours, 


Sir William Beechey's kindness to Richard Wilson is 
well known, the latter was a frequent visitor at the 
house of his fellow artist. A Mr. Field contributed 
some interesting Wilson-Beechey anecdotes to the 
Somerset House Gazette of August 14, 1824 (pp. 297-8). 
He says : " Sir William Beechey, as he himself has 
informed me, having on one occasion invited Wilson to 
dine ; before he consented, he thus sounded his way : 
* You have some daughters, Mr. Beechey ? ' ' Yes, 
sir.* 'Well, do they draw? All the young ladies 
learn to draw now.' c No, sir ; they are musical.' This 
was very well ; his rough honesty dreaded an exhibition 
of performances in his art, which might place him in the 
dilemma of praising untruly or condemning offen- 
sively. . . ." 

Lady Beechey was herself an artist of no mean ability, 


but appears to have confined herself chiefly to minia- 
tures. Since the earlier portion of this book was 
printed off, we have made an interesting discovery 
which settles a number of doubts as to Beechey's second 
marriage discussed on pp. 7-8. The register of St. 
George's Church, Hanover Square, shows that on 
February 27, 1793, William Beechey was married to 
Phillis Ann Jessup, " by licence,'" the witnesses being 
Paul Sandby and Abigail Jessup. Probably the " whole 
colony," to which the Earl of St. Vincent so frequently 
alludes, was not by the second wife, and it may be 
reasonably assumed that several of the elder children 
were by the first marriage. Lady Beechey, as we have 
seen (p. 27) exhibited at the Royal Academy in 1787, 
before her marriage, and in 1795 to 1805 ; a complete list 
of these exhibits will be found in the Appendix. The 
incessant cares of a large family must have been the only 
motive which compelled her to give up a profession in 
which she had already distinguished herself. The Master 
Beechey of 1795 must have been either Henry or Charles 
(who died when quite young). The three Miss Beecheys 
of 1798 were Emma (afterwards Mrs. Spencer), Caroline 
(afterwards Mrs. Innes), and Harriet (afterwards Mrs. 
Riley). Her own portrait in the 1799 exhibition is 
doubtless the miniature now in the possession of her 
granddaughter (daughter of Admiral Frederick Beechey), 
Mrs. Reed. The Miss A. D. Beechey of 1804 was 
Anna Dodsworth, afterwards Mrs. Jackson, who was 
born in 1800. The Miss Beechey of 1805 would have 
been Emma, the eldest daughter. 

Mr. Sydney Chancellor's Beechey Account Book was 


apparently utilised by Lady Beechey as well as by her 
husband, and she has there made a list of the minia- 
tures which she painted in 1795-6, with the prices 
which she received for them. These lists are so inter- 
esting that we have no hesitation in printing them in 
full. It will be seen that Lady (or Mrs. as she was 
then) Beechey made a substantial contribution to the 
family exchequer in the first year ; the list for the 
second year is probably not complete. The entries 
which follow are thus headed : 


& s d 

Mr. Hicks 5 5 O 

Mr. Cleveley 10 10 O 

Mr. Ballantyne . . . . 2 2 o 

Miss Morris 5 5 O 

Mrs. Boaden 

Mr. Meux 5 5 o 

Mr. Forin, 2 IO 10 o 

Mrs. McCree 5 5 o 

Mr. Nouverre 550 

Miss Alderson ..... 

Mrs. McKenzie's friend . . . 5 5 O 

Mr. Dudding 55 

Mr. Maude . . . - 77 
Capt. Stoevein [?] . . . . 770 

Capt, 55 

Mrs. Grey, 2 pictures . . . 14 14 o 


*. d. 

Mrs, Stephens . . - . 55 

Mr. Flude's friend, 2 pictures . . 14 14 o 

Mrs. Sugg 55 

Master Irwin 5 5 O 

Mr. Stuart's copy of Mrs. M. . . 7 7 O 

Copy of miniature of Stuart . . 5 5 O 

Here ends the year 137 9 o 


$. d. 

Little boy for Mrs. Raper . . 5 5 o 

Mr. Gregson 5 5 O 

Mr. Tracey 7 7 O 

Mr. Pockington . . . . 770 
Miss Rous ..... 

Mr. Forin 10 10 O 

Mrs. Russell 

Mrs. Osborn ..... 

Mrs. Chambers , 

Mrs. Macree . . . . . 5 5 o 

Mrs. Wilkinson . . . . 7 7 o 

48 6 

The artist's wife was a great favourite of Queen 
Charlotte, who was often at 1 8 Harley Street ; she took 
a great interest in the children (one of whom was her 
god-daughter) and in their studies, and would go to the 
schoolroom and encourage them in their work. Sir 
William, too, sometimes took one or two of the 
children to play in his studio at the Palace, and one 


day when the King came in two of the children slipped 
out and found themselves in the Throne-room, and to 
their dismay heard the King and their father coming 
along, so they hid under the Royal chair. The King 
made straight for the chair and sat upon it while Sir 
William painted his portrait ; at last the poor child- 
ren got so cramped that they moved, and George III. 
jumped and said, " It's an odd thing, but I could declare 
this chair moved." Presently he felt it again and got 
up, and Sir William had ignominiously to pull his son 
George (the King's god-son) out by the leg, and his 
little sister too ; the King, being in a good humour, took 
it very good-naturedly and laughed, as the children 
were very much frightened.* 

Lady Beechey was painted several times by her 
husband, but we have traced only one of these pictures, 
and this is probably the portrait exhibited at the Royal 
Academy in 1800, No. 179, until recently in possession 
of one of her grandchildren, and now the property of 
Mr. E. G. Raphael, by whose permission it is here 
reproduced. It is a half figure of a pretty woman, 
seated at a table directed to left, looking at the spec- 
tator nearly full face, in low-cut purplish dress with 
white crossover, broad-brimmed hat (which throws the 
forehead and eyes into the shade) bound with dark 
broad band of ribbon, left hand resting on some 
papers on the table, right hand holding crayon or 
brush (canvas about 30 in. by 25 in.) Lady Beechey 

* From the MSS. of Mrs. Champion Jones, granddaughter of 
the artist. 


died in Harley Street on December 14, 1833, 
aged 69. 

Sir William Beechey painted several portraits of 
himself. Two of these were exhibited at the Royal 
Academy, one in 1790, No. 420, and the other in 1836, 
No. 382, The earlier one is probably that engraved in 
mezzotint by William Ward (no date) on a plate 15 J in. 
by ii in. : it shows him to half figure in square border, 
directed slightly to left, looking to front, coat with high 
collar and buttoned across chest. Another, a bust, is 
an oval, directed to right, head turned and looking at 
spectator, wig, coat with high collar, and elaborate 
white frill neckerchief ; this was engraved in stipple by 
Ridley for the Monthly Mirror of July 1798. Of this 
portrait Beechey probably made several replicas ; the 
original remained with its companion, the portrait of 
Lady Beechey, in possession of a grandson of the artist 
until recently, when it was acquired by private treaty 
by Mr. E. G. Raphael, by whose permission it is repro- 
duced here as the frontispiece. Another, signed with 
initials and dated, " W. B. 1799, M. 46," shows him 
to half figure, directed to right, looking at spectators, 
dark coat, white ruffle, to right an easel with the 
design of a picture of a battlefield or manoeuvres with 
equestrian figure to right, probably intended to repre- 
sent the famous review of George III. ; this was en- 
graved in stipple " from an original picture in his own 
possession " by R. Cooper on June u, 1814, for " The 
British Gallery of Contemporary Portraits." A later 
portrait on a three-quarter canvas, showing half figure 

By permission oj Colonel W F L. Noel 


directed to right, three-quarter face, dark coat, was 
purchased by the Royal Academy authorities in 1874 
and is now in the Committee-room of that Institute. 
The National Gallery possesses an interesting portrait, 
begun by Beechey and finished from the life by John 
Wood ; it has been already mentioned and is here 
reproduced. One of the foregoing was copied in enamel 
by H. Bone, and both the original and the miniature 
are now the property of the Rev. Edward Spencer, of 
Tavistock, a descendant of Beechey. 

Beechey's granddaughter, Mrs. F. A. Hopkins, 
possesses a three-quarter (canvas 30 in. by 25 in.) of 
him late in life, half figure, directed to right, nearly full 
face, in dark dress, with collar and neckherchief, wearing 
a high-crowned hat : this has generally been assumed to 
be the work of the artist himself, but it is probably 
by R. Rothwell, R.H.A., and is one of at least two 
which remained in the Beechey family until lately ; this 
interesting portrait is also here reproduced. 

Of family groups, with and without Lady Beechey, 
there are many. One of the most interesting of these, 
the property of Mrs. F. A. Hopkins, is a fancy picture 
of " The Blind Fiddler," a large canvas with eight full- 
length figures. The six Beechey children are Henry, 
Charles, Phyllis, Emma, Caroline and Harriet, and the 
other two figures are the nurse, who is holding the 
youngest of the children, and the Blind Fiddler, who is 
seen to the extreme right. Miss Beechey, of Hilgay, 
possesses a small picture of the heads of a lady and 
child, probably Lady Beechey and one of her elder 



children, and apparently done late in the eighteenth 
century. Mr. W. W. Hallam, of Lowestoft, is the 
owner of a beautiful example of the artist, purchased 
at the sale of the effects of a country house near 
Norwich some years ago ; it is of a lady and child, 
probably Lady Beechey and one of her children as a 
cherub; the canvas is 29!- in. by 24^- in. This may 
possibly be the picture of the artist's wife and child so 
highly spoken of by a writer in " Public Characters, 
1800-1801," whose words are quoted on p. 72. The 
picture is here reproduced. 

Every one of Beechey's children appears to have 
been painted by him at one time or another, either as 
portraits or in fancy subjects, sometimes both. A few 
particulars about each of the children who grew up, 
and of their portraits (so far as they can be traced) by 
their father, will not be without interest. 

Emma Amelia, the eldest daughter, married in 1813 
the Rev. Charles Spencer, of Great Marlborough Street, 
London. He was vicar of Bishop's Stortford, Herts, 
from 1817 until his death July 7, 1849, called, on 
account of his good looks, " The Beauty of Holiness." 
Beechey's son-in-law may be identical with the" Charles 
Spencer " who figures in the Account Book, August 18, 
1823, in connection with a payment of ^49 <)s. 9 prob- 
ably for a portrait of himself. It is understood that 
a descendant has portraits of the Rev. Charles Spencer 
and his wife, by the latter's father. 

Henry William, the eldest son, was appointed secretary 
to Salt, British Consul-General in Egypt, and accom- 


panied Belzoni in 1816-7 beyond the Second Cataract. 
He copied the paintings in the King's Tombs in the 
valley of Biban-el-Muluk, and returned to England in 
or about 1820. In company with his brother. Captain 
Beechey, he surveyed the coast line from Tripoli to 
Derna, and the "Journal" of that expedition con- 
tained numerous beautiful drawings by Henry- He 
exhibited two pictures, one at the British Institution 
in 1829, " View of Part of Cyrene, consisting of the 
Ancient Monuments, and a distant view of the Sea " 
(75 in. by in in.), and a portrait of Mrs. Worthington 
at the Royal Academy of 1838. He was a Fellow 
of the Society of Antiquaries (1825), and published an 
edition of Sir Joshua Reynolds's "Literary Works," 
1835. He emigrated to New Zealand in 1855, ailc ^ 
acquired nearly the whole of the land now covered by 
Christchurch, but disposed of it before it became 
valuable. He died at Littleton. 

Charles, who appears in the family group of " The 
Blind Fiddler/' died young. 

Caroline married Mr. Innes of the Admiralty, The 
portrait which Beechey exhibited at the Royal Academy 
f J^SS? No. 392, Mrs. Innes, was, most probably, 
of his daughter, painted ten or fifteen years before it 
was exhibited. The portrait, a half-figure, shows Mrs. 
Innes directed to front and looking at the spectator, 
in pale yellow low dress, with white lace, gold chain 
suspended around the neck, buckle and trinkets, black 
hair, full dark brown eyes, brunette complexion, holding 
in right hand a portfolio, labelled " Hamlet " ; this 


picture was purchased from Mr. George limes, a son of 
the Mrs. limes in the portrait, by the present owner, 
Mrs. Commeline, of Beaconsfield Rectory, Bucks (her- 
self a great-granddaughter of the artist). 

Harriet married on April 20, 1816, Richard Riley, 
Esq., of the Admiralty. Her father painted her portrait, 
probably as a wedding present, and exhibited it at the 
Royal Academy of 1818, No. 214 ; this portrait, which 
is a whole length, is one of the finest of Beechey's later 
works, the face itself being extraordinarily sympathetic 
and of great tenderness : it shows her seated, in white 
low-necked dress, head turned towards left, hands resting 
in lap, and on the right is a balustrade with a vase of 
flowers. The portrait remained in the possession of a 
descendant of Mrs. Riley until recently, when it was 
purchased by Mr. William Windus, from whose posses- 
sion it passed into that of Sir Isidore Spielmann. 

Frederick William, born February 17, 1796 (godson 
of William IV.), entered the Navy in 1806 ; he accom- 
panied Franklin's Arctic Expedition in 1818, wrote 
an account of it, was an eminent geographer and a Rear- 
Admiral; he married December 13, 1828, Charlotte, 
youngest daughter of Lt.-Col. John t Stapleton, Esq., of 
Thorpe Lee ; was President of the Royal Geographical 
Society, and Superintendent of the Marine Department 
of the Board of Trade from 1850 to his death in 1856. 
Anne Phyllis, born in 1794, married at Marylebone 
Church, on October 26, 1813, to Henry Spencer, 
Esq. Beechey painted a companion pair of portraits 
(each about 30 in. by 25 in.) of his daughter Phyllis and 


Henry Spencer as a present on their marriage ; these 
are the property of their daughter Miss Harriet J. 
Spencer, of Redlands, Bristol. 

George Duncan was born in 1798 (godson of George 
IIL), and followed his father's profession : he exhibited 
portraits at the Royal Academy from 1817 ; about 1828 
or 1829 he went to India, and there married a princess 
of the name of " Hinda," a portrait of whom (after- 
wards engraved) he sent to the Royal Academy of 1832 ; 
he became Court Painter and Controller to the King of 
Oudh, and died at Lucknow, December 6, 1852. His 
death is said to have been accelerated by grief at 
hearing of the total loss of the ship in which he had 
sent home to England a large number of his best portraits 
for exhibition. His descendants are still in India. 

Anna Dods worth, born in 1800, married at Maryle- 
bone July 16, 1825, John Jackson, Esq., of Hambleton. 
Rutlandshire, and Queen Anne Street, London, 
Beechey painted a charming portrait of this daughter 
when she was about seven years of age. This picture, 
which was exhibited at the Royal Academy of 1828, 
No. ir, still belongs to Mrs. Hugh Frederick Jackson, 
widow of one of the artist's grandsons. This pic- 
ture (which measures 40 in. by 50 in.) is a whole 
length of a little girl sitting, directed to front, and 
looking at spectator in an autumnal landscape under- 
neath some trees, in a low-cut terra-cotta dress, white 
chemisette, green polonaise, dark velvet hat with green 
strings, with her lunch-basket by her side. Mr. Herbert 
Innes Jackson, brother-in-law of the present owner of 


the portrait, possesses a very interesting letter sent 
with the picture to his father ; it is dated Harley Street, 
-August 21, 1828, and runs as follows : 

"Mv DEAR JACKSON, This being the anniversary 
of your birthday, I have sent you some corn ; and in 
case you should ever be needy a little gleaner to supply 
all your wants, which I beg your acceptance of, and as 
a mark of my sincere affection, and that when my 
grandchildren, at some future time, may look upon it, 
it may put them in mind of Papa B., who is, with most 
affectionate regard, 

" My dear Jackson, 

Very truly yours, 


This charming picture was engraved on October i, 
1829, under the title of The Little Gleaner, by E. 
Finden. There is yet an earlier one of the same child, 
when a baby, being nursed by her mother, which is 
also a delightful example of Sir W. Beechey : this 
is the property of the Rev. Hippisley Jackson, of 
Stagsden Vicarage, Bedford. Mr. Herbert Jackson, 
of Talbot Square, possesses a portrait of his mother, 
Anna Dodsworth Beechey, painted as a wedding pre- 
sent by her father ; a half-figure, in dark low-cut dress 
and with jet-black hair (canvas, about 30 in. by 25 in.), 
with a necklace of yellow topazes the necklace was 
left by will to Mrs. Herbert Jackson, and is still worn 
by her. 

Charlotte Earle (god-daughter of Queen Charlotte), 

National Gallery 


vin-sister of William Nelson Beechey, born August 3, 
3oi, married July 26, 1825, Fletcher Norton, third 
aron Grantley ; died August I, 1878. Beechey painted 
iveral portraits of this daughter ; one of these, doubt- 
ss a companion portrait of the whole length of Lord 
rrantley, is now at Grantley Hall, Another, a fancy 
ortrait of her as Psyche, now belongs to Mrs. Mac- 
>ady (nee Cecile Spencer), of Cheltenham, a grand- 
aughter of the artist, and second wife of Macready, 
ie actor. Lady Grantley^s brother George also 
ainted her portrait, which was engraved in stipple by 
leyer, and published in October 1827. A grand- 
aughter of the artist has a portrait of Charlotte 
iffcerwards Lady Grantley) as a Gleaner, in mauve 
>w dress with diagonal stripes, in a landscape back- 
round, seated and reclining against a bank ; canvas, 
6 in. by 28 in. 

William Nelson Beechey, born August 3, 1801, be- 
ame a solicitor, married September 5, 1839, at St. 
ohn*s, Paddington, to Maria, second daughter of J. W. 
jddiard, Esq., of Hyde Park Street ; died at Streatham, 
November 28, 1849. His only daughter is Miss 
Jelson Beechey. Alfred, born June 24, 1803. St. 
r incent (god-son of the Earl of St. Vincent), born 
August 7, 1806; entered the Church; married Miss 
ones, of Woodhall, Norfolk ; held many appoint- 
aents in the Church, and died, rector of Hilgay, 
Norfolk, on August 19, 1899. A portrait of him when 
,bout six years of age, by his father, is the property 
>f Mrs. Kingsford, Thrapston Rectory. A member of 


the family possesses a head of St. Vincent Beechey, 
painted when he was about four or five years of age, 
a chubby, cherubic face, with an elaborate white frill 

Richard Brydges, born May 17, 1808, entered the 
Navy in 1822, and after an adventurous and varied 
career was appointed admiral ; he married Frideswaide 
M. M. Smyth, eldest daughter of Robert Smyth, Esq., 
of Portlich Castle, Co. Westmeath. He was an ac- 
complished painter of sea views, and exhibited at the 
Royal Academy from 1832 to 1877, at the British 
Institution from 1833 to 1859, and at the Society of 
British Artists, 18345. H e l* ve d for several years at 
Plymouth, and many of his pictures are still in that 
town ; he died in 1895. Sir William Beechey 's youngest 
child, Jane, appears to have died in infancy. 



BEECHEY painted a very large number of pictures 
which were never exhibited at the Academy. The 
present chapter deals briefly 3 and for the most part 
in alphabetical order, with such portraits as are known 
to us at the present time, but which have not been 
identified as having been exhibited at the Royal 
Academy and are not (with two or three exceptions) 
mentioned in the earlier chapters of this work. The 
range of these portraits is naturally a very wide one, 
embracing as it does the whole of the artist's working 
career. Only a small number of them have been 
examined by the present writer, so that in most cases 
the entries are here made "without prejudice."" For 
many years auctioneers and picture-dealers have been 
in the habit of ascribing fifth-rate " Hoppners " 
and " Lawrences " to Beechey, so that it would be 
impossible within the limits of this work to make 
anything like an exhaustive catalogue of such pictures, 
even if such a list would serve any useful purpose. 
Beechey painted a good many indifferent pictures, 
like every other artist, but he could not possibly 
have painted all the rubbish which has been ascribed 


to him. The hideous fashions of the early Victorian 
period have spoiled, from the collector's point of view, 
many of the portraits, both of men and women, but 
more especially of the latter, which he painted towards 
the evening of his long career ; but this is a fault of 
which he is the victim rather than the culprit. 

Miss Abemethy, sister of the celebrated doctor, half- 
figure, on canvas, 25 in. by 30 in., exhibited at Messrs. 
P. and D. Colnaghi and Co.'s in June 1904. A "three- 
quarter " portrait, with " Captain Bainbridge " written 
on the back of the canvas (owned by Mr. Julian 
Sampson), in uniform, apparently naval, with gold 
buttons, and wearing an Order of a Knight of Malta ; 
this exceptionally strong portrait may be of Sir Philip 
Bainbrigge (1786-1862), whose deeds are recorded in 
the " Dictionary of National Biography."" The " Lord 
J. Russell" of the Account Book, 1790, is doubtless 
the portrait of John, sixth Duke of Bedford (1766- 
1839), described by Scharf in the " Catalogue of Pictures 
at Woburn Abbey," in which it is said to have been 
" taken when young *" ; he wears a dark brown coat with 
raised collar, and the long-flowing hair is powdered ; 
canvas, aSf-in. by24in. John Blackburne,RR.S. (1754- 
1833), whose portrait was engraved in stipple by Tomkins, 
sat in ten Parliaments, 1784-1830, and the engraving 
(a private plate) shows him to half-figure, in dark coat, 
with white neckerchief; he holds a MS. in his hand. John 
Blades (died in 1829, a g e d seventy-eight), whose portrait 
was engraved by W. Say in 1822, was painted in 183:5, 
a three-quarters; he is represented in sheriff's fur- 


trimmed gown with chain of office ; he was a glass 
manufacturer of Ludgate Hill, and was Sheriff of 
London and Middlesex, 1812-13. Arthur Blayney 
(died October I, 1795, aged eighty-one) was known as 
" The Father of Montgomeryshire,' and his portrait was 
engraved in mezzotint by T. Hardy ; this print shows 
him to half-figure, in plain coat with powdered hair, 
Mr. Claude Borrett, of Hatton Court, Castlethorpe, 
possesses an admirable late portrait of his grandmother, 
Laura Maria, only daughter of Sir George Tuthill, and 
wife of Thomas Borrett, a London solicitor ; it is a 
" three-quarters " (30 in. by 25 in,), in which Mrs. 
Borrett is seen to half-figure, seated at a window, in 
low dress, salmon pink bodice, with bluish-green cloak 
thrown back, dark brown curly hair, light blue eyes ; this 
lady died on February 20, 1863, aged sixty-two years. 

A portrait of Viscount Bulkeley (Thomas, seventh Vis- 
count, born 1752, dieds.p. June 3, 1822) was engraved in 
stipple by W. Say, and shows him to half-figure, in dark 
coat with broad collar and white neckerchief ; this is 
doubtless the picture entered in the Account Book 
under 1791, when Beechey also painted a portrait of 
the Viscountess Elizabeth Harriet, only daughter and 
heiress of Sir George Warren, of Poynton ; she married 
August 26, 1777, and died in 1826. A portrait of 
Thomas Cadell, the bookseller and alderman of London 
(1742-1802), was engraved in stipple by H. Meyer, and 
shows him to half-length, seated, in light coat with 
broad lapels. The portrait of another alderman, John 
Carr (died in 1807, aged eighty-four), architect and 


alderman of York, of which city he was mayor in 1770 
and 1785, was engraved in mezzotint by C. H. Hodges ; a 
three-quarter length figure, in plain coat and striped vest, 
holding plans on table, one inscribed " J. Carr, archi- 
tect," and another " Elevation of the Crescent at 
Buxton," which Carr built. Philip, fifth Earl of 
Chesterfield (1755-1815), whose portrait was engraved 
in mezzotint by J. R. Smith in June 1898, is shown 
to half-figure, 'and wears a coat, which is buttoned 
across the chest, with high collar ; when engraved the 
original picture was the property of " Francis Freeling, 
Esq.," afterwards Sir Francis Freeling, the postal 
reformer. Mr. W. C. Alexander, of Aubrey House, 
Kensington, is the owner of the portrait of Robert 
Cleveley (1747-1809), the marine painter, who was 
killed through falling over the cliff at Dover ; this 
portrait was engraved in stipple by Freeman in 1810; 
on the back of the canvas is an inscription stating that 
the portrait was " painted at a single sitting." According 
to Evanses " Catalogue* 51 (vol. ii.) Hodgetts engraved a 
portrait by Beechey of Samuel Pepys Cockerell, the 
architect (1754-1827), but we have not seen this 
engraving- Of the two portraits of Sir William 
Codrington, M.P., entered in the Account Book of 
1789, one is now in the Town Hall at Tewkesbury, 
which place Codrington represented in Parliament from 
1761 until his death, March n, 1792. Mrs. Coppell, 
whose portrait is in the collection of Mr. Henry 
Pfungst, and is here reproduced, was grandmother of 
Sir George Barnard, and was purchased from trustees 

By permission of the Earl of Radnor 


in 1886. The portrait of the Rev. William Coxe, the 
author and traveller (1747-1828), is at King^s College, 
Cambridge, it is said to have been painted on March 
5, 1805, and was engraved in mezzotint by R. Dunkarton 
August 5 of the same year ; it is a half-figure, in black 
coat and white cravat, canvas 30 in. by 25 in. ; it was 
lent to the exhibition at South Kensington in 1868. 

The portrait of Henry d'Esterre Darby, captain of 
H.M.S. BetteropTion at the battle of the Nile, 1798 (he 
was knighted in 1820), was engraved by R. Earlom in 
1 80 1, " from a picture in the possession of his brother, 
J. Darby, Esq., of Leaf Castle, King's Co., and of 
Markley, Co. Sussex"; the officer is in uniform and 
wears a medal, which hangs from the button-hole. 
The portrait of Charles Dibdin, the dramatist and 
song-writer (1745-1814), a half-figure, seated in an 
arm-chair, holding a book in left hand (canvas 29 in. 
by 24 in.), is one of several Beecheys in the collection 
of the Baroness Burdett-Coutts, who lent this one to 
the Old Masters in 1893. An admirable portrait of 
Kenneth Dixon, son of John and Anne Dixon of Tot- 
teridge, Herts, when a young boy, in dark suit and 
white frills, large hat with feathers, in a landscape 
playing battledore (canvas 53 in. by 40 in.), was sold 
at Christie*^ on May 3, 1902, for 200 guineas, and 
was purchased by Mr. Home. The portrait of Vice- 
Admiral Sir William Henry Douglas, second baronet, 
who died at Chelsea in May 1809, in his forty-ninth 
year, was engraved by W. Say, and is now the pro- 
perty of M. C. Sedelmeyer, Paris. Francis Drake, the 


diplomatist's (1764-1821)" portrait was one of the 
several by Beechey engraved by John Young, but the 
engraving is undated , it shows a three-quarter figure in 
court dress, right arm across that of chair, left hand 
on table to right. The frequently engraved portrait of 
Admiral Sir John Thomas Duckworth (1748-1817), a 
half figure in naval uniform with decorations and Order, 
was lent to the exhibition at Exeter in 1873 by Sir 
J. T. B. Duckworth, and to the Naval Exhibtion in 
London in 1891 by Admiral Sir G. Duckworth-King; 
it has been engraved by Vendramini, by Clint, and by 
Charles Turner, and was painted in 1810. The " Mr. 
Dundas" of the 1823 Account Book was Charles 
Dundas, the barrister and politician (1751-1832), who 
was created Baron Amesbury in the year of his death ; 
this portrait was engraved by W. Say, but the en- 
graving is unknown to us. Another engraved portrait 
of which we have been unable to examine the engraving 
by Meyer is that of the Earl of Egremont (George 
O'Brien, third earl, 1751-1838); the original portrait 
is probably at Petworth. According to Fulcher n s 
"Life of Thomas Gainsborough, R.A.," 1856, p. 124, 
Sir William Beechey "was employed to alter some 
part of the figure " of Gainsborough n s whole length of 
the Countess of Egremont at Petworth ; " he painted 
considerably on it, and on the background, but did not 
touch the face." Mr. Austen Chester is the owner of 
Beechey's portrait of the Rev. William Eveleigh, LL.D,, 
Vicar of Aylesford and Lamberhurst, painted in 1829. 
" The Hon. Mrs. Finch and Family " is the title of a 


group (canvas 77 in. by 52 in.), the property of Mrs. 
Dayes, purchased at Robinson and Fisher's for 115 
guineas, June 5, 1902, by Sir Faudell Phillips. A 
kit-cat portrait of Sir James John Fraser, Bart., was 
sold at Christie's on May 28, 1903, for 140 guineas. A 
private plate by Charles Turner of Thomas Forsyth is 
another of the engravings after Beechey which we have 
not yet been able to examine. The portrait of Admiral 
Alan Gardner (1742-1809) was engraved by Fenner for 
Jerdan's u Portrait Gallery ," 1832; the original was 
lent to South Kensington by Lord Gardner in 1867 ; it 
is a bust or " three-quarters " in naval uniform. A 
companion pair of portraits (canvas 49 in. by 39 in.) 
of Lord and Lady Godolphin were lent to the 
Grosvenor Gallery in 1889 by the Duke of Leeds; 
Lady Godolphin is in low-cut muslin dress with 
short sleeves. Lord Godolphin was the second son of 
Francis, fifth Duke of Leeds ; he was born October 1 8, 
1777, and was created Baron Godolphin on May 14, 
1832, and died in February 1850; he married, on 
March 30, 1800, the Hon. Elizabeth, third daughter of 
the first Lord Auckland, and she died April 17, 1847 5 
their son succeeded as eighth Duke of Leeds. Mr. E. 
Gosse has a portrait of his mother, Miss Emily Bowes, 
when a child in 1814 or 1815, and afterwards the wife 
of P. H. Gosse, F.R.S. The finer of the two portraits, 
which differ slightly, of John Guillemard, a great 
traveller, and a friend of both Talleyrand and 
Humboldt, is that owned by Mr. Davies Gilbert of 
Trelissick, near Truro, whilst the other belongs to 


GuillemarcTs great-great-nephew, Mr. F. Henry H. Guil- 
lemard, of Old Mill House, Trumpington, Cambridge. 
A portrait of Captain Hardy, Nelson's friend and com- 
panion, was in the possession of Messrs. Vicars Brothers, 
Old Bond Street, London, in April 1904. There are 
two versions of the engraved " three-quarters " portrait 
of William Heberden, the eminent physician (1710- 
1801) ; one is at the Master's Lodge, St. John's College, 
Cambridge (of which he was a Fellow), and the other is 
at the College of Physicians ; the undated mezzotint by 
James Ward shows half-figure, seated, wearing dark 
dress and wig ; it was again engraved by J. Thomson 
for Pettigrew's " Biographies of Medical Men, v 1839. 
Since the earlier portion of this book has been printed 
off one of the Academy exhibits has been traced, 
namely, the Mrs. Hills and Child, 1800 (p. 72), and this 
very fine picture, which is signed and dated, is here 
illustrated. Mrs. Hills (nee Francis Bankes, born in 
1770, and died January 12, 1849) married, in 1749, 
Phillip Hills, of Colne Park, second son of Thomas 
Astle, F.R.A., the well-known antiquary (the name of 
Hills was assumed when Philip Astle succeeded to the 
Colne Estate) ; the child, her only son, Robert, was 
born at Colne Park on August 15, 1796, and died in 
1876. The picture now belongs to Miss Lorina J. 
Reeves, of Lowestoft, great-granddaughter of Mrs. 

Mrs. Oscar Leslie Stephen is the owner of two un- 
usually fine examples of Beeehey, Mrs. Idle and her 
second son, George. Mrs. Idle, who died at Southgate 


on January 26, 1834, was the w ^ e ^ Christopher Idle, 
M.P. for Weymouth (he died March 8, 1819), a partner 
in the firm of Christopher Idle, Brother and Co., wine 
merchants, of 377 Strand, London. George Idle 
matriculated at Christ Church College, Oxford, on 
July 3, 1813, aged eighteen, and his niece Miss Idle, 
who married Mr. Algernon William Bellingham Greville 
(Mrs. Stephen's father), inherited the pictures. Mrs. 
Idlers portrait, on a kit-cat canvas, shows her to half 
figure, white low dress with black cloak lined with pink, 
seated in red chair, directed to front and looking to 
left ; right arm resting on that of chair, dark curly hair 
falling in ringlets over forehead. The portrait of 
George Idle is a whole length on a " three-quarters " 
canvas (30 in. by 25 in.) of a lad of about eight 
or nine, in dark blue dress with gold buttons, 
white lace collar, white stockings; he is directed 
to left, and is looking at spectator nearly full face, fair 
hair. Boyle's c * Court Guide " of 1817 gives the addr^ses 
of Christopher Idle as 6 Adelphi Terrace, Southfield 
Lodge, Eastbourne, and Southgate, whilst those of 
George Idle are 12 Lower Seymour Street, and South- 
field Lodge. The late General J. Julius Johnstone, 
bequeathed to the National Gallery in 1898, among 
other family pictures, two by Sir William Beechey, 
a companion pair of "three-quarters" of Alexander 
P. Johnstone and James P. Johnstone: their iden- 
tities have not been established beyond the names, 
but both are excellent examples of the artist. 
At the Naval Exhibition of 1891, Admiral Sir G. 


Duckworth-King, Bart, exhibited a portrait of Admiral 
Sir Richard King (1730-1806), who distinguished 
himself in the Indian Seas and was created a baronet on 
July 1 8, 1792. 

In the earlier portion of this work we have had 
numerous instances in which Beechey has made replicas 
of his more famous sitters, either for their friends or for 
his own gallery. An interesting example of this kind 
calls for mention in connection with a portrait of 
General Viscount Lake and his second son George 
Augustus Frederick Lake; the former was born in 
July 1744, and after a career in the army was created 
Viscount Lake November 4, 1807, and died February 20, 
1808. His son also entered the army and was killed at 
the battle of Vimiera on August 17, 1 808. The picture 
with father and son, whole lengths in uniform, standing 
in a landscape, was painted for the King of Oude, but 
was destroyed at the time of the Indian Mutiny. The 
Beechey replica is now the property of Viscount Lake's 
great grandson, Major John Colin Wardlaw, of Largs 3 
Twynholm, Kirkcudbrightshire, by whose courtesy we 
are enabled to give a reproduction of it. In 1814, the 
artist painted a whole length portrait of Thomas Lane 
(1754-1824) "for the Goldsmiths' Company, to whom 
he was clerk thirty years " ; this has been engraved by 
Charles Turner. In addition to the portrait of Thomas 
Cadell, already mentioned, Beechey also painted one of 
Cadell's chief assistant, Robin Lawless (who died in 
Soho, June 21, 1806, aged eighty-two), and Cadell 
" always showed it to his friends as the chief ornament 


By permission of Sir Isidore Sjpielmann 


of his drawing-room " (Nichols, " Literary Anecdotes," 
iii. 388). A portrait of Miss Linwood (1755-1845), 
famous as a musical composer but more particularly as 
an artist in needlework, was engraved by W. Ridley for 
the Monthly Mirror, January I, 1800 ; it shows her to 
half-figure, seated at a table, in dark dress bare to elbows, 
holding a book. The portrait of "Mr. Littledale * 
at the Royal Academy of 1797 may be identical with 
that of " Thomas Littledale of Rotterdam," which was 
engraved in mezzotint by T. Hardy (no date is given on 
the engraving), a half-figure, directed towards left, in 
plain coat and double vest. Canon Cowper-Johnson of 
Yaxham Rectory, East Dereham, possesses a portrait of 
his great-grandfather, George Livius, who was born at 
Lisbon in 1743, and was Commissary-General to Warren 
Hastings in India; he died at Bedford in 1816: the 
portrait is a half-figure (canvas 30 in. by 25 in.), looking 
to right, in dark blue coat with high collar and large 
buttons, white stock and powdered hair. Another 
portrait engraved by Ridley for the Monthly Mirror 
(February 1796), was of Macklin the actor, a bust 
directed and looking to right, wearing a wig. 

An admirable portrait of Mrs. Marshall, in white dress 
with pink shawl, resting on a sofa, a dog by her side 
(59 in. by 81 in.), is here illustrated, by per- 
mission of Messrs. Colnaghi and Co., and the following 
interesting particulars will not be out of place : Mrs. 
Marshall was twice married, first to a gentleman named 
Hazlewood, by whom she had two children, a son and 
a daughter. The son, Frank, was in the 6th Regiment, 


and his portrait was painted by Sir W. Beechey in his 
uniform, probably at the age of about twenty, as he 
sailed in the Neptune for India in February 1 809, and 
died at Bombay in 1814, aged twenty-five. Mrs. 
Marshall's second husband was a General Marshall, and 
they resided at Ivy Bank, Notting Hill. " There were 
stormy passages " (writes the recent owner of the picture), 
u as each had decided and opposing views as to pose, 
&c. Sir William objected to the dog, but the lady 
would have it or no picture at all. He explained that 
he could not paint animals but with no better effect. 
Mrs. Marshall's earswere not well shaped,but nevertheless 
she objected to her curls covering them ; the artist, 
exasperated, lost his temper, and retorted, c When the 
peacock thinks of his legs he lowers his tail. " Artist 
and sitter, however, were on excellent terms. General 
Marshall died in March 1842 ; his widow died on April 
30, 1848, and was buried at All Souls Cemetery, Kensal 
Green. The " Captain Mears " of the 1790 Account 
Book is, there can be no doubt, the "John Mears, 
Esq.," whose portrait was engraved by C. Bestland, a 
half-figure in an oval coat with high collar, elaborate 
white stock and wig. The engraving forms the frontis- 
piece to Meares's "Voyages made in the years 1788 
and 1789," published in 1790, and printed at the 
famous Logographic Press of the first John Walter, the 
founder of the Times, who at this period had a West 
End address at " 167 Piccadilly, opposite Old Bond 
Street." In 1868 Major Hill Mussenden Leathes 
exhibited at Leeds a portrait of Mrs. Merry, a half- 


figure in velvet low-cut bodice with white chemisette, 
dark hair falling in curls over her forehead, holding a 
little dog in her lap (panel, 28f in. by 23fin.)- This 
lady, whose maiden name was Death, married first John 
Leathes, of Reedham and other estates in Norfolk (he 
died in 1788), and secondly Anthony Merry, the diplo- 
matist ; the portrait is now the property of M. C. 
Sedelmeyer, of Paris. Miss Goldsmith, of Beech Holme ? 
Wimbledon Common, has a portrait of her old harp- 
master, Charles Frederick Meyer, a half-figure, holding 
a roll of music in his hands (the canvas is about 30 in. 
by 25 in.). Thomas Mortimer (1730-1810), whose 
portrait was engraved by Ridley for the European 
Magazine, May I, 1799, a half-figure of an elderly man 
with dark coat, white neck-cloth, and wig, was the 
author of numerous books, of which a full account 
accompanied his portrait in the European Magazine; 
he was Vice-Consul of the Austrian Netherlands 1762-8, 
and published "The British Plutarch" in 1762. Sir 
Harry Burrard Neale (1765-1840), who appears in the 
1807 Account Book, a half-length "for Lord St. 
Vincent,"" was a distinguished naval officer, and attained 
to the rank of rear-admiral in 1810. He was M.P. 
for Lymington for forty years. This portrait was 
engraved by J. B. Lane for " The British Gallery of 
Contemporary Portraits," 1822. 

Among the Slindon heirlooms sold at Christie's on 
May 7, 1904, was a whole-length portrait of Anne 
Webb, who married, June 30, 1789, Anthony James, 
Earl of Newbury, and died August 3, 1861, aged 


ninety-nine. She wears a soft white dress with gold 
sash and gold ribbon in her hair, and holds a thin veil 
over her head ; landscape and river in the background 
(canvas 93 in. by 57 in.)- The portrait realised 550 
guineas. Two half-lengths of "Lord Francis Osborn 
and his lady " are mentioned in " Public Characters, 
1800-1," as having been painted for Lord Auckland. 
Senor Juan F. Riano, in an article in the Athenaeum, 
May 9, 1896, on the Osuna collection of pictures, refers 
to two " refined and pleasing " portraits of two young 
men, sons of the ninth Duke of Osuna. Mention may be 
here made to the National Portrait Gallery likeness of 
the Rev. William Paley, which has been for many years 
ascribed to Beechey ; it is a copy by that artist after 
George Romney. In the Account Book of January 1809 
we have the entry : u Of Mr. Brown for a copy of Dr. 
Paley, 42" A whole-length portrait (93 in. by 58 in.) of 
Miss Mary Anne Payne ("LaColombe Sauvee"), daughter 
of George Payne, and afterwards Mrs. Dolphin, was at 
Christie's on April 10, 1895, when it realised 375 guineas. 
In the Account Book of 1807 there is an entry : " Of Mr. 
Pearse for three pictures of himself, 126," and in that 
of 1813 another entry : "Of Mr. Pearse for two three- 
quarter pictures, 10$." This " Mr. Pearse " was prob- 
ably Dr. William Pearse, Master of Jesus College, 
Cambridge, of the Temple, and Dean of Ely (he died in 
1820, aged seventy-seven). One of these five versions is 
at the Master's Lodge, Jesus College. The portrait of 
Miss Jane Peveril, daughter of Robert Peveril, of 
Penard, Durham married in 1789 Cuthbert Johnson, of 


Eastby, Yorks ; died December 20, 1826, aged fifty- 
eight sold at Christie's on June 25, 1904, for 260 
guineas, is possibly the "Mrs. Johnson " of the 1789 
Account Book. She is in a black-and-white dress, with 
powdered hair and pearl ornaments (canvas 30 in. by 
24 in.). A portrait of the Rev. William Piercy, a 
Dissenting minister at Coventry and Woolwich, chaplain 
to the Countess of Huntingdon and President of Georgia 
College, North America, is mentioned in Evans's 
" Catalogue," No. 20338, as having been engraved in 
mezzotint by R. Dunk r ,rton, but no example of this en- 
graving is known to us. " Sir Charles Poole," whose kit- 
cat portrait is entered in the Account Book of 1819, was 
AdmiralSirCharlesMoricePole(i757-i83o). Theportrait 
was engraved both by W. Say and by Charles Turner, 
and is reproduced in Brenton's " Naval History," 1837, 
p. 536. In addition to the picture of " Lord Por- 
chester^s Family " mentioned in the Account Book of 
1790, Beechey painted Lord Porchester (Henry George, 
afterwards second Earl of Carnarvon, 1772-1833), and 
this portrait was engraved in mezzotint by W. Say ; it 
shows him to half-figure in military uniform and sash. 
A portrait, sold at Christie's in July 1901, of Miss 
Susan Mackworth-Praed, twin-sister of the Countess 
Mayo and wife of Thomas Smith, of Fonthill, Jamaica, 
and Bersted, Bognor, shows her seated on a terrace in 
red dress with cloak lined with ermine and pearl neck- 
lace (canvas 50 in. by 40 in.). u The Rev. Mr. Prince," 
for a portrait of whom a Mr. Palmer paid 25 guineas 
on June 4, 1816, for " a three-quarter bought by the 


committee of the Magdalen," was doubtless the " Rev. 
John Prince," of whom a portrait was engraved by 
Skelton. We have not been able to examine a copy of 
this engraving. 

Lord Burton's picture of Mrs. J. M. Raikes (canvas 
30 in. by 25 in.), engraved in stipple by T. Nugent, is of 
Charlotte, daughter of Nathaniel Bayly, wife of Job 
Mathew, third son of William Raikes, of Welton, 
Yorks ; it is, there can be hardly any doubt, identical 
with the Mrs. Raikes of the 1807 Account Book ; from 
the later entry it will be seen that the artist charged 
five guineas extra for the painting in of a hand. Sir 
John Chambers Reade, sixth baronet of Barton, Berks, 
was a patron of Sir William Beechey, as may be seen 
from the Account Books of 1811 and 1813, where we 
have entries of payments for two whole-length portraits 
of himself (born 1785, died 1866) ; one of his mother, 
Jane, only daughter of Sir Chandos Hoskyns, Bart., 
whom she married January 13, 1784 (he died in Novem- 
ber 1789), she died December 17, 1847; and one of 
his sister, Jane, who died in April 1837. Three of 
these portraits were sold at Christie's on July 13, 1895 
(that of Sir John is erroneously described as of the fifth 
baronet). The portraits of Lady Reade and her son 
were acquired by M. Sedelmeyer, of Paris 3 and are 
illustrated in his " Catalogue of Three Hundred Paint- 
ings by Old Masters," 1898 ; they are now the property of 
Mr. Rodman Wannamaker, of Philadelphia; that of 
Miss Reade was purchased by Mr. Blakeslee, of New 
York. Lady Reade is standing in a landscape in black 

Collection A.Risckgite 

.F/OHZ the picture m the Collection of The Lady #am,s, 6'7, 


dress trimmed with white lace, and with white lace 
head-dress ; Sir John Chandos Reade is standing near 
a pillar in blue velvet court dress, knee breeches, and 
white stockings, holding his sword with his left hand ; 
Miss Reade is in white silk and lace dress, tuning her 
harp. The second of the two whole-length portraits 
of the baronet was not sold with the others. One of 
the many pictures known to us only through the 
engraving is that of John Revoult, A.M., " Master of 
Wai worth Academy, "engraved by James Ward in 1798, 
" from an original painting by Sir William Beechey, 
R.A., presented to Mr. Hevoult by the gentlemen who 
had been educated under him as a token of their high 
respect and affectional regard towards him." This 
portrait shows Revoult to half-figure, in dark coat with 
velvet collar and white neckerchief ; he holds up in his 
right hand a closed book, lettered " Introduction to the 
Arts and Science?, 1798." The Right Hon. George 
Rose (1744-1818), the, statesman and political writer, 
was painted by Beechey in 1802, and this portrait (35^ 
in. by 27^- in.), signed and dated " W. B., 1802," was 
presented by his grandsons, Hugh Lord Strathnairn^ 
G.C.B., and Sir William Rose, to the National Portrait 
Gallery in 1873 ; he is seated in a green-backed arm- 
chair, in dark blue coat, white waistcoat and cravat, 
and holds in his right hand a paper inscribed " George 
Rose, Esq." It should be noted that the portrait of 
Rose engraved by Vendramini for " The British Gallery 
of Contemporary Portraits," i8n,was at that time in 
the possession of " Matt. Winter," so possibly the 


engraved picture is a replica by Beechey. A portrait 
of Lady Rons, second wife of the sixth baronet 
(who in 1821 was created Earl of Stradbroke), was in 
the Royal Academy of 1796, and has already been 
mentioned; in 1811 Beechey painted a "three-quarters " 
of Lord Rous (1750-1827)5 in peer's robes, and this was 
engraved in mezzotint by Charles Turner in the autumn 
of the same year. A portrait of John, third Duke of 
Roxburghe, the famous book collector (he succeeded 
his father in 1755 and died in 1804), is mentioned in 
Watts's " Cabinet of Modern Art" (p. 100), and this is 
also found in the Account Book of 1789; it may be 
identical with that of the Duke engraved (without 
name of artist or engraver) in 1816 for W. darkens 
"Repertorium Bibliographicum,^ and frequently re- 
peated. A portrait of " Mr. Rudd of Yorkshire " is 
named in " Public Charatcers, 1800-1," p. 355. 

A very early portrait, dated on the back 1784, of 
Johann Peter Salomon, the violinist (1745-1815), who 
organised concerts in which Mozart and Haydn took part 
at the Hanover Square Rooms 1791-2, was exhibited at 
Oxford 1906, No. 175 ; it is a half-figure portrait in 
green coat, lace cravat and ruffles ; his right hand, 
holding a pen, rests on a paper lying with some books 
and a violin on a table before him. One of the most 
delightful of Beechey's early pictures of children is the 
property of Dr. Charles Shelley of Hertford, by whose 
permission it is reproduced in this book ; it represents 
John, only son of John and Martha Shelley, of Great 
Yarmouth, born December 31, 1781, and died suddenly 


in London, July 28, 1835, a f ter g* v * n g evidence before 
a Parliamentary Committee : he was a partner in the 
firm of Hurry and Co., of Yarmouth, Russia merchants, 
and captain of a company in the Yarmouth Regiment 
of Volunteer Infantry, 1805; and his sister, Charlotte 
Ann Shelley, born in 1783, and died unmarried in 
1815. The picture is referred to in Dawson Turner's 
"Sepulchral Reminiscences," 1848 (page 74): "The 
family [Shelley] are in possession of a portrait of him 
as a boy not more than ten or eleven years of age, 
walking with his sister. Sir William Beechey, by whom 
it was painted, told me himself that he regarded it as 
the best of his works." Dr. Shelley, the owner, and 
Mr. John Shelley, of Plymouth (who has himself 
furnished us with the biographical particulars), are 
grandsons of the John Shelley in the picture. An 
engraving by Parker, " three-quarters, sitting," is the 
only known evidence of a portrait of Henry Addington 
Viscount Sidmouth (1757-1844) : we have not seen this 
engraving. The portrait painted in 1808 of "Mr. 
Simeon " was of Charles Simeon ( 1759-1836), the divine, 
who was the incumbent of Holy Trinity, Cambridge, 
1783-1836 ; this portrait is engraved in Dean Spencers 
** History of the Church of England," vol. iv. p. 301. 

Lord Ravensworth possesses at Ravensworth Castle, 
Gateshead, a whole-length portrait (93 in. by 57f in.) 
of John Simpson, a young man leaning against a pillar, 
in a canary-coloured suit and blue coat, knee-breeches 
and dark stockings ; he was a son of John Simpson, of 
Bradley, who married Anne, daughter of Thomas, Earl 


of Strathrnore ; the subject of the portrait died young, 
and at his father's death the property was divided 
between the two surviving daughters, Lady Ravens- 
worth and Lady Dean Paul. Sir George R. Sitwell, 
of Renishaw Hall, Chesterfield, has a very fine portrait 
of his great grandmother, Alice, daughter of Thomas 
Parkes, of Highfield House, Lancaster, and first wife of 
Sitwell Sitwell, afterwards Sir Sitwell Sitwell (she died 
in May 1797). ^ somewhat enigmatical entry in the 
Account Boot, under date June 5, 1826, "of Col. 
Edwards for a Bishop's half-length of Mr. Ashton 
Smith for the Corporation, ^"159 ios,," is explained by 
the engraving by S. W. Reynolds and J. P. Quilley, 
which states that it is done " from a portrait painted by 
Sir W. Beechey, R.A., and placed by his [i.e., Smithes] 
friends in the Grand Jury Room at Carnarvon A.D. 
1826." In the picture itself, Thomas Assheton Smith 
(1752-1828) is seated, and wears a dark coat fastened 
by two buttons, a light waistcoat ; to left is a table, on 
which are a hat, inkstand and letter-address : " To Sir 
William Beechey, R.A., Harley Street." The " Mr. 
Stephens" of the 1789 Account Book was Samuel 
Stephens, an intimate friend of the artist, and uncle of 
thefamousKitty Stephens,the ballad-singer, who married 
the fifth Earl of Essex in 1838 ; the portrait (30 in. by 
25 in.), which is dated 1789, is now the property of 
Mrs. Fanny Snow (Stephens's great-granddaughter), 
who has also two fine miniatures of the wife and 
daughter by Lady Beechey ; very little is known of 
Mr. Stephens, except that he was an excellent horseman, 


was married in 1781, and was alive as late as 1822. 
A portrait of " Admiral Stevenson " was lent by Mr. W. 
A. Geare to the Naval Exhibition, 1891 (No- 755 J). 
The " Miss Tracy " of the 1791 Account Book was the 
Hon. Henrietta Susan Tracy, only surviving child and 
heiress of Henry, eighth Viscount Sudeley (who died 
April 27, 1797); s ^ e was born November 30, 1776, 
married December 29, 1798, her cousin, Charles Han- 
bury, who assumed the additional surname and arms 
of Tracy, and died June 5, 1839 : a portrait (obviously 
not that of 1791) of this lady when a child, in white 
frock, pink sash and shoes, kneeling on the ground 
gathering shells, the sea and a boat in the background 
(canvas 40 in. by 50 in.), was at Christie^s on May 8, 
1897. A "three-quarters" portrait of the seventh 
Viscount Tracy was sold at the same place on June 16, 

By the kindness of Mr. E. S. Trafford, of Wroxham 
Hall, Norwich, we are able to reproduce the exceedingly 
fine portrait of his grandmother, Margaret Crowe, who 
was born in 1772, married Sigismund Trafford in 1791, 
and died in 1838 ; she was the eldest daughter and co- 
heir of James Crowe, of Norwich, and is represented 
in low white dress and powdered hair (canvas 30 in. by 
25 in.). As with nearly every other distinguished 
personage, Beechey painted at least two versions of his 
portrait of Rear- Admiral Sir Thomas Trowbridge 
(1758-1807) : one of these, nearly three-quarter figure, 
in naval uniform, right hand resting on hilt of sword, 
was engraved by Miss Bourlier for " The British Gallery 


of Contemporary Portraits/ 7 1822, when it was in 
possession of the Earl of St. Vincent; it was again 
engraved by W. Hall for Jerdan's " Portrait G-allery," 
1830-4. A second version of this portrait was lent to 
the Naval Exhibition of 1891. Sir Francis E. Waller, 
Bart., possesses a beautiful example of Beechey, a picture 
of two young girls blowing bubbles ; they were daughters 
(Georgiana, afterwards wife of the Rev. Sainsbury 
Langford Sainsbury of Froyle, and Anna, wife of John 
Jarrett, Esq., of Camerton Court) of Sir Wathen 
Waller, Bart. The "John Ward," attorney (1756- 
1829), whose portrait, a half-figure of an elderly 
man, was engraved by Henry Meyer, may be identical 
with the " Mr. Ward " of the R. A. 1823. In December 
1814, Beechey enters in the Account Book a payment of 
50 guineas for a portrait of Lord Wellington ; this was 
the great Duke (1769-1852), and the picture was 
evidently a "three-quarters "(3 *& by 2 5 * n O> engraved 
by Skelton in December 1814; the Duke is seen to half- 
figure in uniform, with numerous orders and decorations. 
Meyer also engraved this portrait. Samuel Whitbread, 
the brewer and M.P. (1758-1815), was also painted by 
Beechey, and a mezzotint engraving of it by W. Ward 
was published on June n, 1797; the engraving shows 
him to half-figure in a square frame, in plain dark coat 
and white cravat. Miss Wright, of Glenorleight, Kings- 
wear, has two half-length portraits, one of Harriet Maria 
Day, who married, January 28, 1794, Ichabod Wright, 
Esq., of Mapperley, Notts, the translator of Dante ; 
the second represents Princess Amelia. 

By permission of Dr. Charles E Shelley 


It is impossible even to deal with the scores of ex- 
cellent portraits and groups of which the identities are 
no longer discoverable. One of the best known of such 
groups is that in the Louvre, with the title, *' Brother 
and Sister/' This has been so frequently engraved and 
reproduced in various forms an illustration of it ap- 
pears in this book that a lengthy description would 
be superfluous. It may be stated, however, that the 
little boy is in a crimson velvet suit with a lace collar, 
whilst his sister is in white ; this picture was in the 
John Wilson sale, where it was acquired for 3810 francs 
and presented to the Louvre by L?Art in 1881. 

Another picture may be here mentioned, a Portrait 
of a Lady as Evelina, holding a letter, with a dog 
(canvas 26 in. by 30 in.), as an instance of the rapid 
increase in the market value of first-rate works by 
Beechey. This picture, now the property of Lord 
Hillingdon, was in the following sales: Blamire, 1863, 
50 guineas; Broderip, 1872, 250 guineas ; and S. Add- 
ington, 1886, 900 guineas. An attractive whole-length 
(27^- in. by 22 in.) figure of a little girl in high-waisted 
white frock and long white pantaloons with frills was 
lent to the Exhibition at Birmingham in 1900 by Mr. 
Henry J. Pfungst, and a reproduction of it is given in 
this work, but nothing apparently is known as to the 
identity of the child or of the history of the picture. 


BEECHEY ACCOUNT BOOKS, 1789-91, 1807-1826 

VERY little explanation is needed respecting the most 
interesting entries which form this chapter. They are 
taken from two of Beechey's private account books 
which have been preserved : the earlier of these is, as 
already stated, the property of Mr. Sydney Chancellor, 
whose wife is a great-granddaughter of the artist ; the 
later and more elaborate book is in the Library of the 
Royal Academy ; and in each case the courtesy of the 
owners has enabled us to make public a mass of highly 
interesting information respecting Beechey and his 
work. Unfortunately, these Account Books do not 
cover the whole of the artist's long working career, and 
probably the most interesting period of that career 
would include the period 1792-1806, of which we have 
only the Royal Academy exhibitions to show us some- 
thing of what he was doing in that interval. It is to be 
hoped that the Account Book or books covering this 
period may yet be discovered. Both Account Books 
were unknown to the author until the greater portion 
of this work was finished in manuscript; but the 
interesting facts and details revealed in these Account 
Books have been utilised in chaps, i. to v. ? so far as 


they relate to or have any bearing upon the pictures 
exhibited at the Royal Academy or in any other way 
mentioned in those chapters. The same may be said 
with regard to the portraits dealt with in chap. vii. 
To annotate these lists would be a task of considerable 
magnitude, and would swell this book to far beyond the 
size of other volumes in the series. Nearly all the 
entries tell us the date, size and price of each picture, and 
any elaboration of these singularly interesting Account 
Books must be deferred for a future Catalogue Raisonne 
of Beechey's works. The entries are often far from 
distinct, and are here transcribed verb, et lit. 

1739- s. d. 

Mrs. Coopers (large) 10 10 o 

Master C. Herbert (small) . . . . 550 

Master Crocket (small) . . . . ro 10 o 

Miss Howard (small) ..... 7 7 o 

Mrs. Hale (small) ..... 5 5 o 

Mrs. Soane (small) ..... 5 5 o 

Mr. C. Herbert (large) . . . . 10 10 o 

Mrs. G. Herbert (large) . . . . 10 10 o 

Lady Herbert (paid half) . . . . 10 10 o 

Ditto (small, paid) .... 550 

Bishop of Carlisle [John Douglas] (paid, also frame) 21 10 o 

Mrs. Powel . . . . . . . 10 10 o 

Lord Abergavenny (paid half) . . . 15 15 o 

Mr. Stephens, Admiralty (not paid) . . 15 15 o 

Mr. R. Herbert 10 10 o 

Dr. Strachey 105 o o 

Mr. [or Mrs.] Lewes (paid half) . . . 10 10 o 

Earl of Courtoun (paid half) . . . 42 o o 


. d. 

Lord Henry Montague . . . . 10 jo o 

Lady E. Montague 10 10 o 

L. [? Lady] M. Montague . . . . 10 10 o 

Lady C. Montague . . . . . 10 10 o 

Lord Dalkeith . . . . . . 10 10 o 

Mrs. Lon glands 10 10 o 

Mr. Wynn (" Kit-Kat ") . . . . 15 15 o 

Capt, Adams 5 5 o 

Mrs. Hume 10 10 o 

Mrs. Clements 5 5 o 

Mr. Wheeler 5 5 o 

Lady C. Herbert xo 10 o 

Duke of Manchester (paid half) . . . TO 10 o 

Mr. Herbert . . . . 10 10 o 

Lord Norreys . . , , . 2100 

Lord Macartney . . . . . . 10 10 o 

Sir H. Dashwood (paid half) . . . 52 10 o 

Miss Stuart (not paid, small) . . . 10 10 o 

Mr. Knox . . . . . . . 21 o o 

Duke of Montague 10 TO o 

Sir Wm. Codrington 2100 

Ditto 10 10 o 

Lord Beaulieu (paid) 10 10 o 

Duke of Roxborough [Roxburghe] . . 10 10 o 

Lord Morton . . . . . . 42 o o 

Lady Morton (paid half) . . . . 2100 

Master Harris (paid half) . . . . 2100 

Mrs. Oddie Family 84 o o 

Mrs. Maitland . . . . . . 10 10 o 

Master Boyce * . . . . 10 10 o 

Mrs. Jolinstone , , . , , jo 10 o 



s - d - 

Mrs. Peirce , . . , . . 15 15 o 

Mrs. Simpson . . . . . . 15 15 o 

Mr. [or Mrs.] Irwin 15 15 o 

Lady A. Carpenter . . . . . 10 10 o 

Mr. C. Herbert . . . . . . 10 TO o 

Sir George Warren . . . . . 15 15 o 

Lord Herbert 15 15 o 

Lord J. Russel . . . . . . 15150 

Lord Tyrone . . . . . . 15 15 o 

Mr. Langlands (paid half) . . . . 10 10 o 

Lord Porchester Family (paid half) . . 63 o o 

Master Clayton . . . . . . 2100 

Mrs. Wilraot (paid half) . . . . 15 15 o 

Miss Keen (paid half) . . . . 15 15 o 

Mrs. Adair . . . . . . 15 15 o 

Capt. Mears 15 15 o 

Mr. Smith (paid half) . . . . . 15150 

Lord H. Montague . . . . . 15 15 o 


Mrs. Waddington (paid half) . . . 15 15 o 

Mrs. Bennet . . . . . . 10 ro o 

Two copies, Lord Dalkeith . . . . 31 10 o 

One do, Mr, Adair (paid) . . . 15 15 o 

One do. Mrs. Herbert (not paid). . . 15 15 o 

Mrs. MacNabb . . . . . . 15 15 o 

Sir Henry Oxenden (paid half) . . . 15 15 o 

Copy of the D. of Montague [for] Mr. Oddie 15 15 o 

Ditto for Lord Aylesbury (not paid) 15 15 o 

Ditto for Lord Cardigan . . . 15 15 o 

Mrs. Cox (paid half) 15 15 o 


a. d. 

Lord Bulkeley (paid half) . . . . 15 15 

Lord Bulkeley 

Miss Tracey (paid half) . . , . 15 15 o 

Lord Forbes (paid half) . . . . 31 ro o 

Mrs. Crump (paid, also frame) . . . 15 15 o 

Mrs. Meaux (paid half) . . . . 15 15 o 

Mrs. Crocket 10 10 o 

Mr. Light (for copy of Ad. Houlton) . . 15150 



s. a. 

Jan. Of H.R.H. the Prince of Wales, 
for a half-length of His R.H. 
sent to the Duke of Kent . . 84 o o 

Of Mr. Foster, for a copy of Mr. 

[Mrs.] Langley ? . . . 2100 

Of Mr. Desenfans, for a portrait of 

Earl St. Vincent . . . 42 o o 
Feb. 2, Two months' after sight, of the 
Corporation of Dublin, for a large 
portrait of H.R.H. the Duke of 
Cumberland . . . . 210 o o 

Of Mr. Claxton (as half), [for a] 

three-quarter . . . . 21 o o 

Of Lady Hood, for a Bishop's half- 
length of Sir Saml. painted for 
Earl St. Vincent . . . 84 o o 
15. Of Sir H. B. Neale, for a half- 
length of himself, painted for 
Lord St. Vincent . . . 84 o o 

Of Mr. Webb (as half) . . . 21 o o 


(Copy from Sir Joshua Reynolds ly Sir W. Beechey) 

By permission of the Misses Cameron 


s. d. 

Feb. 1 8. Of Mr. Webb (in full) . . . 21 o o 

Of Mrs. Raikes (in part) . . 2100 

Of Mrs. Tatnall [for the two Misses 

T.] (as half) . . . . 52 10 o 

Of Miss Dee, for H.R.H. Princess 
Sophia of Gloucester, for copy of 
the late Duke and frame . . 52 10 o 

Of Capt. Stevenson, for H.R.H. the 
Duke of Cumberland, and for 
half-length of himself and three- 
quarter of H.R.H. the late Duke 
of Gloucester, with frames, pack- 
ings, &c 154 6 o 

May 26. Of Ld. Breadalbane (in full), for 

pictures and half-length frame . 75 7 o 
June 4. Of Miss Mellon, as first payment . 60 o o 
8. Of Mr. Raikes, as last payment for 
Mrs. Raikes 1 portrait with a hand, 
in addition to the three-quarter 
put in . . . 26 5 o 

13. Of Mr. Tatnell (in full), for a pic- 
ture of the two Misses Tatnell . 52 10 o 

Bishop of Chester [Dr. H. W, 

Majendie] . . . . . 42 o o 

Of Mr. Greenwood, for a whole- 
length of the Duke of York, 
presented by him to the Military 
Asylum of the Drapers* Company 126 o o 

For a large picture of Lord Nelson 210 o o 

Of Lord St. Vincent, for a portrait 

of Capt. Gray . . . . 84 o o 



June 13. Of Agar, for portrait of his 

brother, Bishop's half-length . 94 10 o 

Of ditto, for a picture of the Soldiers 21 o o 

Of Mi\ Brown, for copy of his father 40 o o 

Of H.R.H, the Duke of York . 270 o o 
Of Mr. Pearce, for three pictures 
of himself [probably Dr. Pearce, 

Master of Jesus Coll Cambridge] 15 15 o 

Of the Duke of Gloucester . . 15 15 o 

Of Mr. Claxton (in full) . . 30 7 o 

^2152 o o 

* a. 

Jan. 1 6. Of Mr. Bolton [? Boulton], for 

H.R.H. Princess Elizabeth . 50 8 o 
Feb. Of Lord Mulgrave . . . 42 o o 
22. Of Capt. Agar, as whole price for 

a lady 63 o o 

Of Mrs. Caborn [probably wife of 

Ridley Calborne, M.P.] (as half). 21 o o 
Of Mr, Simeon . . . . 42 o o 
Mar. 1 6. Of Mr. Coventry (as half)^ for a 
half-length containing two por- 
traits of his daughters . . 62 10 o 
Apr. 9. Of Mr. Pattison [Patteson] (as half ), 

for a three-quarter . , . 2100 
London Hospital, being the last 
payment for two whole-lengths of 
the late and the present Dukes 
of Gloucester . . . . 20 o o 


s. d. 

Apr. 9. Of the Marchioness Sligo (as half), 
for a whole - length of Lord 
Altimont and three-quarter of 
herself 99 15 a 

22. Of Sir Henry Lushington, for a 

picture of his father, Sir S. 

Lushington . . . . 42 o o 

23. Of Mr. Pattison (as last half). . 21 o o 

28. Of H.R.H. the Duke of Gloucester, 

for his sister's portrait . . 42 o o 
30. Of Lord Gambier (as half), for a 

three-quarter portrait of himself 21 o o 
May 13. Of Dr. Dodsworth (as first half), 

for half-length of himself . . 42 o o 
Of the Marchioness Sligo (as last 

half) ; herself and son. . . 99 15 o 
21. Of Mr. Simeon, for a three-quarter 

of Mr. Thomason . . . 42 o o 
30. Of Mr. Sullivan, for half-length of 

himself for Lord Buckinghamshire 84 o o 
June 4. Of Mr. Towers, for three-quarter of 

himself . . . . . 42 o o 
6. Of Admiral Coffin, for three-quarter 
of himself [s'.e., Sir Isaac Coffin 
who adopted the surname of 
Greenly, 1811-13 ; see also 1811 
entries] . . . . . 42 o o 

29. Of Mr. Coventry (as last half), for 

Miss Coventry's portraits . . 62 10 o 
28 Of Dr. Dodsworth (as last half), for 

his own portrait, half-length . 42 o o 


s. a. 

July 2. Of the Duke of Gloucester, for a 

copy of the Duchess . . . 42 o o 
ii. Of H.R.H,theDukeof Cambridge, 
for his own portrait and copy of 
ditto for H.R.H, the Duchess of 

York 84 o o 

Aug. 5 Of Mr. Coffin, for a copy of Sir B. 

Watson 31 10 o 

19. Of Mr. Gambier, for three-quarter 

picture of himself . . . 42 o o 
Mr. Gambier, for the last half of 

Lord Gambier . . . . 2100 
Oct. 5. Of Mr. Hall (in part), for himself 

and Mrs. Hall . . . . 63 o o 
24. Mr. Leeds (as half), for a whole- 
length of Mrs. L. . . 84 o o 
Nov. Of Mr. Ansley, for a portrait of 
himself in the Lord Mayor's 

Gown 42 o o 

Of Mr. E. Simeon, for half-length 

of his brother John . . . 94 10 o 
Ditto of himself, a half-length, but 

only charged a kit-catt . . 63 o o 
Of Mr. Pearce (in part of frame) . 2100 
Of the Marquess of Lansdowne, 
as whole price for portrait of 
Miss Gifford . . . . 42 o o 

18 o 



s. d. 

Jan. 6. Of Mr. Hall (as last half), for Mrs. 

Hall and himself . . . 63 o o 
Of Mr. Brown, for a copy of Di% 

Paley 42 o o 

20. Of Lord Ormond (in full), for Lady 

Ormond's whole-length . . 105 o o 
Feb. Of Mr. Pearce, for altering portrait 

(three-quarter) of himself . . 20 o o 
Mar. Of Mr. Dyke, for a three-quarter 

with a hand . . . . 47 5 o 
18. Mr. North, three-quarter . . 42 o o 
29. Miss Mellon (in full) . . . 66 o o 
May 3. Of Mr. Bott [? Batt] (in full), for 
the portrait of his Majesty, sent 
to the Duke of Kent at Gibraltar 84 o o 
Or Lord Cawdor, for a portrait of 
Mr. Greville, painted by Sir 
Joshua Reynolds . . . 52 10 o 
15. Of Admiral Markham . . . 40 o o 
1 8. Of Mr. Myers (as half), for a 
whole-length himself and two 
children . . . . 126 o o 

Lady Dufferin (as half) . . . 2100 
24. Lord Porchester (as half) . 21 o o 
31. Mr. Foster (as half), for Bishop's 
half-length of Lady Ferrant and 
Lady Dufferin . . . . 78 15 o 
[This " Mr. Foster " was un- 
doubtedly the Right Hon. John 
Foster, last Speaker of the Irish 


B. d. 

House of Commons, and the 
"Lady Ferrant" his wife, Vis- 
countess Ferrard; she was created 
Baroness Oriel, June 5, 1790, 
and advanced Nov. 7, 1797, to 
the dignity of Viscountess Fer- 
rard; her husband was created 
Baron Oriel in 1821 ; Lady Duf- 
ferin was their only daughter] 

Mr. Brown, for three-quarter of 
Sir R. Preston . , . . 31 10 o 

Lady Dufferin (last half), for three- 
quarter . . . . . 21 10 o 
July 7. Of Mr. Eardley, three-quarter . 42 o o 

13. Of Mr. Baugh [? Mr. Isaac Baugh] 

(as last half), for Mrs. Haire's [?] 

portrait 42 o o 

14. Of Mr. Brown (last half), for Sir 

R. Preston, three-quarter . . 10 10 o 
Mrs. Cuboam[?Calborne] (last half) 21 o o 
Aug. 2. Of Lord Bulk el ey (last payment), 

for half-length and servant . 68 5 o 
10. Mr. Pettit (first half) . . . 2100 
Sept. i . Of Admiral Markham (as last half), 

for a half-length portrait . . 38 15 o 
3. Of Mr. Pettyt (last half), three- 
quarter . . . . . 21 O O 
9. Of Lord Porchester . . . 2100 
Oct. 4. Of Mr. Myers (as last payment), 
himself and children [probably 
Ex. at R.A. 1810, No. 21] . 126 o o 


National Portrait Gallery 


s. <*. 

Oct. ii. Of Gen. Erskine (as half), for Lady 

Louisa Erskine . . . . 2100 

Nov. 6. Of Mr. Leeds (last half), for Mr. 

[? Mrs.] Leeds . . . . 84 o o 
24. Of Sir Henry Halford (first half), 

for half-length himself . . 42 o o 

29. Of Mr. Forin (as half), for whole- 

length himself . . . . 84 o o 
Dec. 29. Of Mr. Vincent, for portrait of His 

Majesty . . . . . 42 o o 

30. Gen. Erskine, last price Lady Louisa 31 10 o 

^1524 10 o 

Received for frames, &c. . 181 17 6 
Portrait Mr. Greville . . 52 10 o 

i75S 17 6 

s. d. 

Jan. 10. Of Mr. R. [? Mathew] Boulton, for 
a copy of Mr. Boulton for Mr. J. 
Watt, and also one of ditto for 
Miss Boulton .... 147 o o 
Feb. 17. Of Mr. Forin (in full) . . . 84 o o 
19. Mr. Hesketts [? Hesketh], three- 
quarter . . . . . 42 o o 
23. Of, Mr. Loftus (half), three-quarter 21 o o 
26. Of Mr. Cochran . . . . 21 o o 
Mar. 10. Lady de Clifford (as part), for Lady 

Albemarle . . . . 42 o o 
15. Mrs. Loftie [? Loftus] (in full) . 2100 


a. d. 

Mar. 21. Mr. Cochran, for Mrs. C. . . 31 10 o 
23. Ditto . . . . . 15 15 o 

Mr. Green, for Mr. Dickens [? Mrs. 

Dickons] . . . . . 94 10 o 
May 4. Of Mr. V. Green, for a study of a 

head sold at the British Gallery . 2100 
5 . Of Mr. Hesketh, for two portraits 

of Mr. L. and Miss H. . 84 o o 
Of Sir J. Leicester (as half-price), 

for the Duke of Gloucester . 105 o o 
ii. Of J. Coventry, Esq., for his own 

portrait . . . . . 42 o o 
June 7. Of Sir J. Duckworth . . . 84 o o 

1 8. Of Mr, Egerton (as half), for a 

whole-length of himself . . 84 o o 

19. Of Mr. Simmond (as half), for Mrs. 

S.'s portrait, three-quarter, with 
one hand . . . . . 25 o o 
July 8. Of the Rev. Dr. Simmonds (an old 

debt) 31 o o 

9. Of Dr. Burnaby, for a half-length 

portrait of Gen. Paoli . . 84 o o 
13. Of Mr. I. Symmonds, for his own 

portrait . . . . . 25 o o 
25. Mr. Cochran . . . . . 26 5 o 
Aug. 3. Of Mr. Symmonds . . . 39 5 o 
7. Of Sir T. Bernard, for a picture of 

the Recording Angel . . . 42 o o 
Of Mr. Astell {i.e., William Astell, 
M.P., a Director of East India 
Co.], for the portrait of the 
Persian Ambassador . . . 262 10 o 



Aug. ii. Of Mr. Symmonds, to make up the 
fifty each for two three-quarter 
and twenty for the frames [?] . 36 15 o 

Sept. Of Mr. Egerton (last half), himself 84 o o 
Of Mr. Coventry, for a half-length 

of his son (prices raised) . . 105 o o 

Oct. Of Mr. Foster (last half), for Ladies 

Ferrant and Dufferin . . . 78 15 o 

Nov. 24. Of Mr. Hall., for a second picture 

of Mrs. H 63 o o 

26. Of Major Aubrey's Lady (as first 

payment) ..... 100 o o 
Of the Dublin Society, for a whole- 
leiigth of Mr. Foster [doubtless 
the Rt. Hon. John Foster, see 

1809] ..... 2IO O O 

Dec. 2 1 . Of Mr. Baker (first payment), three- 
quarter . . . . . 26 5 o 
22. Sir A. Hume, for a copy of Rem- 
brandt . . . . . 52 10 o 

^2231 12 o 

s. d. 

Jan. 28. Of Mr. Baker (last half), three- 
quarter 26 5 o 

Feb. 22. Of Lord Rous (as first half), himself 26 5 o 

24. Mr. Longlands, for a portrait of his 

father . ... 26 5 o 

25. Of Mr. Lewis (first), half-length 

himself . . . . . 52 10 o 


s. d. 

Feb. 27. Of Mr. Sandford (first), for half- 
length of H.R.H. the Duke of 
Cambridge . . . . 52 10 o 
Mar. 14. Of Lord Rons . . . . 26 5 o 
Of Lady de Clifford (as last pay- 
ment), for Lady Albemarle . 52 10 o 
Mrs. Aubrey (last half) . . . no 10 o 
Apr. 6. Mr. J. Trotter . . . . 31 10 o 
May 2. Mr. Lysaght [? Lysart] . . . 26 5 o 

7. Mr. Waithman [probably R. Waith- 

man, 1764-1833, Lord Mayor, 

1823, and M.P.] . . . 26 5 o 

10. Mrs. Carey, for " Hebe " . . 136 10 o 

8. Of Mr. Lewis (last half ) . . 52 10 o 
15. Mr. T. Bernard, for a small copy of 

his Majesty at a review in Hyde 

Park . . . . . . 52 10 o 

29. Mr. Wainman [? Waithman] (last 

half), own portrait . . . 26 5 o 

June 13. Mrs. Binnoch .... 100 o o 

Before (on account) . . 45 o o 

22. Of Mr. Davey, three-quarter . . 52 10 o 

21. Sir H. Halford . . . . 42 o o 

25. Mrs. Towers, copy of Mr. Towers . 52 10 o 
July 4. Of Mrs. Blaaw, for a portrait of her 

son, to be sent to Eton . . 52 10 o 

9. Of Capt, Lysart (last half) . . 2650 

11. Of H.R.H. the Duke of Cambridge 

(in full), for a copy of his por- 
trait, sent to the Duchess of York 52 10 o 
15. Mr. Skirrow (owe ;io) . . 52 10 o 


. <. 

Aug. 20. Lady Warburton (half-price), two 

pictures . . . . 210 o o 
23. Of Mr. Brown., for portrait of Sir R. 

Preston 52 10 o 

28. Of Mr. Astell (as first payment) . 26 5 o 
Of Mr. [? Mrs.] Astell . . . 26 5 o 
Lord Maynard . , . . 52 10 o 
Nov. Of Sir J. Reade . . . 210 o o 
28. Of Sir I. Coffin-Greenly, three- 
quarter . . . . . 52 10 o 
30. Of Mr. Cholmondeley (as part), for 
Sir R. Warburton's picture and 
frame 118180 

Total for the year 1 81 1 1987 o o 

Of Mr. Payne . . * 105 o o 

^2092 o o 

. a. 

Jan. 3. Of Lady Read's whole-length, and 

^20 over . 230 o o 
Feb. 7. Of Capt Mathews (as first half), for 

Mrs. M. . . . . 26 5 o 
ii. Of Mr. Sault [i.e., William Salte] 

(as first half), three-quarter . 26 5 o 

Mar. 10. Of Mr. Roberts (as last payment) . 6710 o 

ii. Mr. Payne ..... 105 o o 

Apr. 19. Of Mr. Sault (last half) . . . 26 5 o 

27. Of Mr. Hodson (as last price), Mrs. 

Hodson . . . . . 26 5 o 


s. d. 

May 4 Of Mr. Hesketh . . . . 52 10 o 
30. Of Mr. Dunn, for a copy of Col. 

Reade's portrait . . . 52 10 o 

June 1 6. Of Mr. Cholmondly (^30 bank- 
notes and ^50 three months 
after date) . . . . 80 o o 

July 1 8. Of Lady Warburton, for Sir Peter 

and herself (last payment) . . 210 o o 
25. Of Mr. Mathews . , . . 26 5 o 
28. Charles Gambier . . . . 52 10 o 
Aug. 26. Of Mr. Thompson, for -whole-length 

of himself and dog . . . 262 ro o 
Sept 9. Of Mr, Cholmondeley (note, dated 
Oct. 10, and a i note), for Sir 
Peter Warburton's picture (in 

full) 51 o o 

24. Mr. Salt, for copy of himself . . 52 o o 
Sir G. P. Turner (one note for two 
months, dated Aug. 28, ^400, 
other four months, ^366 ios.6d.) 766 10 6 
Oct. 28. Of her Majesty . . . 131 5 o 

Dec. 3. Of Mr. Hodson . . . . 26 5 o 
8. Mr. Ball 52 10 o 

^2222 15 6 


Mr. Hesketh (in full) . . . 53 o o 

Feb. 8. Of Sir A. Clarke (to make up half- 
price), for whole-length of him- 
self 40 5 o 

By permission of the Marquess of Shgo 


d - 

Feb. 22. Of Sir J. Leicester, for last pay- 

ment of the Duke of Gloucester 105 o o 
26. Of Mr. Pearse, for two three- 

quarter pictures . . . 105 o o 
Mar. 16. Of Mr. Wilkins, for his portrait (half) 26 5 o 
May. Of Sir A. Clark . . . . 3<> *S 
19. Of ditto (in full), for a whole-length 

in robes of the Bath . . . 63 o o 
June 1 1, Of Sir Bellingham Graham (as 

half), for whole-length . . 105 o o 
Mr. Sandford (a draft, dated July I, 
1813), for last payment of the 
Duke of Cambridge . . . 52 10 o 
July 26. Of Sir J. Reade (as first payment), 
himself and sister (owe ^9 ios., 
being guineas) . . . 150 o o 

Of Lady Arden, for a portrait of 

Mr. Perceval, three-quarter . 52 10 o 
Mr. Lefort [? Lahorte], portrait of 

his wife . , . . . 52 10 o 
Mrs. Gambier, for two portraits of 

Mary and Edward, three-quarter 105 o o 

and altering her own ditto . 15 15 o 

Of Sir J. Read (last half) . . 163 o o 

June 23. Of Mr. Free . . . . . 52 10 o 



s. d. 

Of Col. Hamilton, for portrait of 

his son ..... 30 o o 


s. d. 

Sir Thomas Bernard, head of Lady 

Cawdor 25 o o 

Mar, 15. Of Sir John Beresford (as first pay- 
ment), for Lady B. and child, 
whole-length . . . I 3S S o 

Apr. 1 6. Of Bishop of Chester [G. H. Law], 

for a half-length of himself . 126 o o 
23. Of Mrs. Powell, for portrait of her- 
self, half-length . . . 105 o o 
Of Mrs. Michlurst [?] (half-pay- 
ment), for three-quarter . . 26 5 o 

30. Of Sir H. Agnew (first payment), 

for half-length of his mother . 5300 
June 6. Of Mr. Torris [?], for half-length of 

Mr. Huddleton (first payment) . 50 o o 
23. Sir B. Graham (last payment) . 105 o o 
28. Sir J. Beresford (last payment, sent 
to Hammersley, 150 [gns.], on 
Drummond) . . . . 135 5 o 
July 26, Of Gen, Long, for a portrait of his 

father 73 10 o 

Aug. Of Col. Hamilton (as last payment, 

and something for frame) . . 2500 
20. Mr. Thompson, 200.* 

31. Of Lord Hill (first half), for a 

whole-length . . . 105 o o 
Sept. 5, Of Mrs. Micklurst [?] . . . 2650 
12. Of Col. Arbuthnot, for a three- 
quarter 52 10 o 

* Apparently a memorandum rather than a payment, as the 
amount is not carried out in the column. 


s. d. 

Sept. 12. Of Mr. [or Mrs.] Brook (in part of 
^126), for a naked boy as St, 
John 50 o o 

Oct. 12. Of Mr. Lane (as half), for himself, 
whole-length for the Goldsmiths* 
Company, to whom he was clerk 
thirty years . . , 105 o o 

Nov. 19. Of Mr. Lane (the last payment) . 105 o o 

Dec. 14. Of Lord Beresford (by the hands of 
Arthur Macdonald, Esq.), for a 
portrait of Lord Wellington . 52 o o 
1 8. Of Mr. Brooke, in part-payment of 

Master B/s portrait . . . 55 o o 

^1432 10 o 


Jan. 6. Of Mr. Torris [?], for Mr. Hudles- 

ton (last payment) . . . 55 o o 

20. Duke of Gloucester . . . 50 o o 

13. Of Miss Balloch, for Capt. Watson 52 10 o 

26. Of Mr. Huddleston, a three- 

quarter of himself . . . 52 10 o 

27. Of the Freemasons (in part of 200 

[gs.]), for H.R.H. the Duke of 

Kent ...... 100 o o 

Feb. 2. Of Lord Hill (bill, 30 days' date, 

Jan. 26, ^152 55.), for picture . 105 o o 

ii. Of Col. Grey (half-price) . . 26 5 o 

Mar. 9. Of Mr. Long . . . . 26 5 o 

27. Of Mrs. Tower (as half), for Capt. 

Tower . . . . . 26 5 o 


s. d 

Apr. 14 Of Mr. Watkins (as half), for a 
three - quarter picture, painted 
some years ago, and ditto, for 
Mrs. Watkins, and whole-price for 
his own ditto, painting at this time 92 o o 
20. Of Mr. Long . . . . 26 5 o 
1 8. Of Mr. Davis, for a three-quarter 

portrait of himself . . . 52 10 o 
May 8. Of Mr. North, for a copy of Dr. 

Harrison . . . . . 26 5 o 
15. Of Lord Selsey, for a portrait of his 

son, Capt. Peachey (half) . . 63 o o 
Of Mr. Phipps, for a picture of the 

Battle of Constantine . . . 105 o o 
June 10. Of the Hon. Capt. King, a three- 
quarter of himself . . . 52 10 o 
15. Of Lord Selsey, for Bishop's half- 
length of Miss Peachey (being 
half-price) . . . . . 63 o o 
July. Lady Owen (half) . , . , 26 5 o 
Mr. Blades (half) . . . . 26 5 o 
Mr. Gooch (half) . . . . 52 10 o 
29. Of Mrs. Towers (last half), of Capt. 

Towers 26 5 o 

Aug. Of the Freemasons (as part-pay- 
ment), for the portraits of 
T.R.H. the Dukes of Kent and 
Sussex ..... 200 o o 
Sept. Of Mr. Brooke (being the whole), 
for the little St. John (frame 
still due) . . . . . 2 1 o o 


s d. 

Sept. 1 8. Of Freemasons, for the portraits of 
T.R.H. the Dukes of Kent and 
Sussex ..... 120 o o 

Oct. 3. Of Mr. Blades (last half) , . 26 5 o 

Nov. 3 Of Lady Berwick, for portrait of 

Lady Bosworth, half-length . 50 o o 
ii. Of Sir Thomas Bernard (as half), 

for Lady Bernard . . . 63 o o 

Dec. Mr. Palmer (half), for three- 

quarter ..... 26 5 o 


* d. 

Jan. (Last half) Mr. Palmer . . . 26 5 o 
Of Mr Makepiece . . . . 25 o o 
Feb. 5. Of Lord Berwick . . . . 55 o o 
Lord Selsey (in full), for Capt. and 

Miss Peachey . . . 126 o o 

10. Of Mr. Picton, for a portrait of 
Sir Thomas Picton, who fell at 
Waterloo . . . . , 52 10 o 
12. Of Sir Andrew Agnew, as last pay- 

ment for Mrs. Agnew . . 52 o o 
Mar. 15. Of Sir T. Bernard (as last half) . 66 o o 
Of Sir R. Preston, for a copy of 

Mr. Brown . . . . 52 10 o 
May 7. Of Sir R. Preston, a three-quarter 

of himself ..... 52 10 o 
Of Mr. Watkins, for copy . . 21 o o 
25. Of Wm. Wilkins, for a copy of Mr. 

Wilkins ..... 26 5 o 



s. a. 

June i . Of Sir Robert Preston, for a copy 
of Lady Preston, a three-quarter 
picture . . . . . 52 10 o 
4. Of Mr. Palmer, for portrait of the 
Rev. Mr. Prince, a three-quarter, 
bought by the Committee of the 

Magdalen 26 5 o 

22. Capt. Welbank, for a copy of Mr. 

Brown's portrait . . . 52 10 o 

July 16. Of Lady Owen . . . t 52 10 o 

17. Of Gen. Wetherall . . . 25 o o 

1 8. Of Gen. Wetherall (in full), for his 

portrait, no frame . . 27 10 o 

Of Mr. Harrison, for Mr. Prince's 

portrait (in full) and frame . 2650 

29. Of Sir Robt. Arbuthnot, for portrait 
of Lady A. and hei children's 
portraits . . . . 100 o o 

Aug. Of Mr, Grenvill (in part), for Mr. 

Collins's portrait, half-length . 42 o o 

17. Of the Countess of Loudoun and 
Moira, for a whole-length of her- 
self . . . . . 210 o o 

19- Of Mr. Grey (for Col. McMahon, on 
account of H.R.H. the Prince 
Regent), for a portrait of Mr. 
Percival 52 10 o 

30. Mr. Gooch (last half), for a half- 
length of Mrs. Gooch . . 52 10 o 
Oct. 25. Of the Rev. Dr. F. Piggot (as half- 
price), for a three-quarter . . 26 5 o 

By permission of Messrs. Thos Aynew $" Sons 


s. d. 

Nov. 5. Of Mr. Graham (as last half), for 

the Rev: Dr. F. Piggott . ; 26 5 o 

Dec. 4. Of Sir Robert Arbuthnot, for two 
three-quarters of Prince Blucher 
and the Hetman Platoff, for Lord 
Beresford 105 o o 

^1431 10 o 

s. d: 

Jan. 4. Of Mr. Gordon (in part), for a 

whole-length of himself . . 80 o o 
30. Ditto . . . . . . 52 10 o 

Feb. i. Of Mr. Hall, for a copy of Gen. 

Picton . . . . . 52 10 o 

13. Of Mr. Graham, for a copy of a 
drawing, by Downman, of Mrs. 
Piggott (half) . . . . 26 5 o 

19. Ditto (last half) . . . . 26 5 o 
Of Mr. Graham (for the remainder 

sum due), for the half-length [?] 
portrait of Mr. Collins, a picture 
voted by the [Parish of] Marabone 
[? Marylebone] . . . . 63 o o 
Mar. 9. The Bishop of Ely [Dr. B. E. 
Sparke] (first half), Bishop's half- 
length 63 o o 

ii. Of Capt. Beresford (as half), for 

himself and sisters, three-quarter 5* 10 o 

20. Of Mr. Gordon [the 2$ is 

apparently scratched out] . . 25 o o 


> s. d. 

Mar. 27. Of Col. Beresford (last half), for 
himself and Mrs. [Misses] Beres- 
ford, three-quarter . . . 52 10 o 
Apr. i. Of Mrs. Evelyn Pulteney, for half- 
length of herself . . . 126 o o 
3. Of Mr. [Watts] Russell, for a Kitt 

Katt of himself (as half) . . 39 7 6 
ii. Of Mrs. Gosling (as half), for a 
half-length of her two daughters 
and three-quarter of her own . 105 o o 
15, Of Mr. Coutts, for a portrait of 

himself and a copy of ditto . 105 o o 
May 6. Of Mr. Gordon (last payment), 
for whole-length ; also frame, 
^31 xos. . . . . . 52 10 o 

14. Of Mr. Wilton, for a copy of Mr. 

Collins, half-length . . . 105 o o 
22. Of Mr. Watts Russell (as last half), 

for his own portrait, Kitt Katt . 39 7 6 
Also for a small picture of Venus . 2100 
24. Of Mrs. Coutts, for a portrait of 

herself 52 10 o 

June i r. Of Mr. Harkwright [? Arkwright] 
(as first payment), for himself 
and Mrs. Harkwright, three- 
quarter . . . . . 52 10 o 
Aug. 8. Of Mrs. Gosling (as last payment), 
for the Miss Goslings, and three- 
quarter of Mr. W. Gosling . 105 o o 
Sept. 2. Of the Prince Regent, from the 
Lord Chamberlain's Office, for 


s. d. 

altering the large picture of his 
Majesty on horseback, &c. . 105 o o 

Sept. 4. Of Mr. Coutts (as half), for a 

whole-length of Mrs. Coutts . 105 o o 
Of Mr. Watkins, for a copy done 

before . . . . . 25 4 o 
6. Of Sir Stuart (as first payment), 
for Miss Stuart's (both in one 
picture), Bishop's half - length 
(owing the shillings to make it 

guineas) 90 o o 

22. Of Mr. Braham .... 100 o o 
Nov. 4. Of Sir Thos. Stanley (as half), for a 

half-length of himself . . 52 10 o 
Dec. 2. Of Mr. Fredk. Noel (as half), for a 

Bishop's half -length of Mrs. Noel 63 o o 
Omitted Prince Regent's por- 
trait of Mr. Percival . . . 52 10 o 
Marquis of Anglesea . . . 52 ro o 
Received for frames, packing-cases 

&c. ...... 129 o o 

^2070 10 o 


Jan. i. Of the Bishop of Ely (as lasft half), 

for his own portrait . . . 63 o o 

1 6. Of Mr. Coutts, for a picture of 

Lord Erskine, three-quarter . 52 10 o 

29. Of Sir George Campbell, for 

Bishop's half-length of himself , 6^00 


B. i 

Feb. Of Mr. F. Noel (as last half), for 

Mrs. Noel . * . . . 63 o o 
21. Sir George Campbell (last half), for 

his own portrait. . . . 63 o o 

Mar. 4. Of Capt. Grey (as last payment) 

for a Kitt Katt of himself . . 52 10 o 

Apr. 10. Of Mr. Eardley (as last half), for a 

Kitt Katt of Sir Cullin Smith . 39 7 6 
Of Sir John Leach, for a three- 
quarter (first half) . . . 26 5 o 

21. Of Mr. Gosling (first half) . . 26 5 o 
Of Mr. Coutts (as last half), for 

Mrs. Coutts 7 whole-length . . 105 o o 
May 5. Of Sir J. Leach (as last half) . . 26 5 o 
6. Of Mr. Ferguson, for a three- 
quarter portrait of himself . . 52 o o 
10. Of the Princess Mary, for a 

Bishop's half-length . . . 126 o o 
Of H.R H. the Duke of Gloucester 

(as half), for a Bishop's half -length 63 o o 
15. Of Mr. Andrews (for last half), for 
Miss Stewart's portraits, painted 
for Mrs. Coutts . . . . 94 10 o 

22. Of Curzon, for two copies of 

Lady Sligo (overpaid by $ by 
mistake) . . . . no o o 

29. Of Mr. Forrestier (as half), for a 
whole-length of himself (wanting 
shillings) [to make ^105] . . 100 o o 
June 3. Ditto, for first payment of Lady 

Catherine no o o 



June 4. Of Lady Stanley (as half), for her 

Ladyship's portrait, half-length . 52 10 o 
8. Of Mr. Eardley (as last payment), 

for Sir Cullin Smith, Kitt Katt 39 7 6 
Of Mr. Pedley, for a portrait of 

Miss Lee, Kitt Katt (in part) . 50 o o 
July 2. Of Mr. Grenfell (for a part of 
100 guineas), to finish a picture 
of Mr. Hoppner's . . . 52 10 o 
1 8. Of H.R.H. the Duke of Gloucester 
(as last payment), his own por- 
trait . . . . . 63 o o 
Of Mr. Greenwood, for the last 
payment of Mr. Collins* portrait, 
for the Parish of Mary lehone . 31 10 o 
Aug. 4. Of H.R.H. the Duke of Cambridge, 
for the portrait of H.R.H. the 
Duchess (as half for a whole- 
length) ..... 105 o o 
14. Of Sir Henry Dashwood (as last 
half), for his family, painted 
twenty-five years ago . . 42 o o 
Mr. Grenfell, for finishing a picture 

of Hopner's . . . . 52 10 o 
Oct. Of H.R.H. the Duke of Cambridge 

(as last half) .... 105 o o 
Ditto, for a copy of the Duke of 
Cambridge, for the Duke of 
Sussex . . . . . 52 10 o 
Nov. 17. Of Mr. Pedley (last half), for Miss 

Lees' Kitt Katt . . 50 o o 


s. d. 

Dec. 4. Of Mrs. Mathews [or Mathers] (as 

half) , three-quarter (prices raised) 31 10 o 
12. Sir Thomas Stanley, for himself 

and Lady Stanley . . . 100 o o 

^2158 10 o 

8. d. 
Jan. 6. Of Sir R. Barclay (as half), for 

three-quarter of himself . . 31 10 o 

15. Ditto (last payment) . . . 31 10 o 

Feb. 14. Mr. Ainsley (as half) . . . 31 10 o 

17. Of Lord [? Sir T.] T. Stanley (in 

full), for the portraits of himself 
and lady . . . . . 31 5 10 
20. Of Mr. Perry (as half), for Bishop's 

half-length (prices raised) . . 87 15 o 
Mr. Mather (40, as last half), for 

himself, three-quarter . . 31 10 o 
Mar. 15. Of Ashton Smith (as half), for Mr. 

Leicester's picture, half-length . 63 o o 

18. Of Sir Charles Poole (as half), 

Kitt Katt 47 5 o 

The Duchess of Dorset (in part), of 
Lady Delaware's portrait, whole- 
length, in half-length canvas (due 
as half-price, 4 55.) . . 85 o o 

22. Of Lieut. Perry (in part). Bishop's 

half-length . . . . 105 o o 
Apr. 10. Of the Marchioness of Abercorn 
(as half), for Miss Campbell 
(being 2 153. over half) . . 50 o o 


National Gallery of Scotland 


B. d. 

April 1 2. Of Lady Fitzherbert (as part), 

three-quarter (^8 los. over) . 40 o o 
15. Of Col. Stephenson, for H.R.H. 

the Princess Augusta, half-length 105 o o 

26. Of Mr. Littleton (as half), for Mrs. 

Littleton . . . . . 105 o o 

27. Of Mr. Eardley, for a picture of 

of Miss Twisston [?] as " Hebe" 315 o o 
May 19. Of Mr. W. Blornfield (as half), 
three-quarters (overpaid, 

^i ios.) 33 o o 

Of the Rev. Mr. Turner, for three- 
quarter himself . , . . 63 o o 
June i. Of Mr. C. Baseley (first payment 

due, 1 ios.) . . . . 30 o o 
14. Of Mr. Forester, for Lady C. and 

himself (last half) . . . 210 o o 
19. Of Mrs. Caithrow (as half), herself, 

half-length . . . . 65 12 6 
22. Lady Harriet Windsor (as half), for 

three-quarter, herself . . 31 10 o 
26. Mr. Pulteney, for a Bishop's half- 
length himself . . . . 157 10 o 
July 8. Of Mr. Blomefield (last half), 

three-quarter himself (in full) . 30 o o 
Aug. 12. Mrs. Plowden (as half) for the 
Miss Plowdens, two in one pic- 
ture, half-length . . . 97 2 6 
Mrs. Caithrow . . . . 65 12 6 
31. A. Smith, for Mr. Ley cester (in full) 68 5 o 
Sir Thos. Poole (in full) . , 47 5 O 


s d. 

Oct. 12. Of Mr. Parry (as last payment), for 
Lieut. Parry (to be paid Nov. 10 
to bankers) . . . . 52 10 o 
Nov. 3. Mrs. Plowden (as last half) . . 97 2 6 
15. Of the Marquis of Anglesea, for 

Mr. Leicester .... 126 o o 
29. Of Mr. Inglis, for the portrait of 

Miss Robertson, three-quarter . 63 o o 
Sir Henry Fitsherbert (as last half), 

for Lady F. and frame, &c. . 23 o o 

^2296 15 io 


s. d. 

Feb. 23. Of Mr. Leicester, for a three- 
quarter portrait of himself . 63 o o 
26. George [? Beechey], for Lady 

Waldegrave . . . . 50 o o 
Mar. 3. Mr. Slade (for the first payment), 

for Alderman Thorpe . . 78 15 o 
26. Of Mrs. Gosling, for Mr. Robert 

Gosling (last half) . . . 26 5 o 
Apr. 20. Lord Anglesey (first half), three- 
quarter, himself. . . . 31 10 o 
25. Mr. Coutts, for a three-quarter 

copy of Mr. Crawford . . 63 o o 
May i. Lady Cosen [?] . . . 30 o o 

22. Of Lady Maynard (for first pay- 
ment), of a Kitt Katt of Mrs. 

Woodford 50 o o 

24. Mr. Leake (for half), Sir G. Noel, 

three-quarter . . 31 10 o 


s. d. 

May 28. Mr. Scarlett (as half, 2 128. 6d. 

due) 15 15 o 

June 5. Lord Aylesbury (last half) . . 31 10 o 
12. Mrs. Meyrick (as half), for Miss 

Fuller as " Una " . . Bg 5 o 

July 3. Of Mr. Pragser (last half), for his 

own portrait . . . . 78 15 o 
14. Of S. H. Carew (a bill, dated 
June 28, three months, due 
Oct. i) . . . . 29 2 6 
Also ^15 15 o o 

22. Of Mr. Leake, for Sir Gerard Noel 

(last half ; ditto frame, ;io i os.) 31 10 o 

24. Of Mr. Pulteney, for himself . 

Mrs. Cluer . . . . . 31 10 o 

Aug. 2. Of Capt. Fowler, for his father . 

23. Of Mrs. MeClintock, for three- 

quarter of herself , . . 63 10 o 
George [? George Beechey] . . 2100 
Mrs. Hart (as half), for her 

daughter . . . . . 52 10 o 
Sept. i. Of Lady Chambers (as half), for a 

little girl 65 10 6 

28. Of Lady Ranelegh, for a portrait of 

Lord Ranelegh . . . . 63 o o 
31* Of Mrs. Meyrick (as last half), for 

Miss Fuller . . . . 89 5 o 
Of Mr. Feardall [?] (^52 ios., due 

Oct. 9) . . . . 52 10 o 

Nov. Of Mrs. Hart, for a portrait of Miss 

Reading (last half) * , 52 10 o 


s. d. 

Dec. 3. Of Mr. Scarlett (as last half and 

frame) . . . . . 68 5 o 

^1426 3 o 


s. d. 
Jan. 1 6. Of Mr. Goodrich (in part of 

500 guineas .... 105 o o 
Feb. 8. Ditto (bills, one month) . . 420 o o 

28. Of Mr. Hodgson (as first payment), 

three-quarter . . . . 31 10 o 
Mar. 3. Of Mr. Anderton (as half), for their 

little boy 31 10 o 

Apr. i. Of Mr. Devitt (as half), for Mrs. 

Devitt 31 10 o 

2 1. Of Lady Chambers (as last half), for 

Miss Yeld 65 15 6 

May ii. Of Mrs. Berwick (as half), for a 

whole-length . . . . 131 5 o 
19. Of Mr. Devitt (as half), for a 

three-quarter of Miss Devitt . 31 10 o 

22. Of Mr. Hodgson (last payment) . 31 10 o 

29. Mr. Littleton (last half), for Mrs. 

Littleton . . . 105 o o 

June i. Of Sir J.Owen . . . . 26 5 o 

5. Of Mrs. Berwick . . . . 82 o o 
Of Lady Ranelegh, for cleaning 

picture of Sir P. Stephens . , 5130 

6. Of Mrs. Lyon (as half-price) . . 31 10 o 
Of H.R.H. the Duchess of Kent 

(as first payment), for a Bishop's 


s. d. 

half-length of herself and the 
Princess Victoria . . . no o o 
Aug. i. Of Mr. Moray (as half), for portrait 

of Mrs. Moray, Kitt Katt . . 47 5 o 
Mrs. Lyon(as last half) , three-quarter 31 10 o 
3. Of Mrs. Bewick (by notes, due 

Aug. 30) ..... 47 5 o 
22. Of Mr. Erskine (as half), himself, 

three-quarter . . . . 31 10 o 
Sept. 9. Of Mr. Moray (last payment), for 

Mrs. Moray . . . 47 5 o 

Oct. 8. Of Mrs. Morgan, for a small 

picture (as half) . . . 15 15 o 

1 6. Of Lady Read, for Miss Read's 

picture (altering, &c.) . . 31 10 o 
26. Of Mrs. Morgan (last half) . . 15 15 o 
Nov. 3. Of Mrs. Gooch |(as part of head, 
half-price, and frame remains 
due, 16 135. 6d.) . . . 21 10 o 
9. Of Mr. Long, for Mrs. Long (by 

bill for 90 days for ;6o) . . 63 o o 
25. Of Mr. Poynder, for a three- 

quarter portrait of Mrs. P. . 63 o o 
30. Of Mr. Poynder (as half-price), for 

himself ..... 31 10 o 

;i6yo 10 6 


Jan. Of Mr. Poynder (as last half), for 

himself and Mrs. P. . . . 31 10 


s. a. 

Jan. 1 6. Mr. Erskine (last half) . . . 31 10 o 
Feb. 13, Of the Duchess of Dorset, for the 
remainder of the Lady Delawarr 
portrait . . . . . 93 10 o 
20. Of H.R.H. the Duchess of Kent 
(the remainder half), for H.R.H. 
and the Princess Victoria . . no 5 o 
15. Of Sir R. Arbuthnot (by bills) . 286 o o 
28. Of the Marquis of Aylesbury, 

three-quarter portrait . . 63 o o 
Mar. 2 Of the Viscount Lowther, for 
finishing the whole-length por- 
trait of Mr. Hoppner of himself 
(as half) * . . . 131 5 o 

Apr. Of Mr. Tibbit (as half), for a 
whole-length of his daughter 
[? wife] and child . . . 162 15 o 
May 15. Of Mr. Braham (last price), for 

Mrs. B. and children (owes $) . 105 o o 
June 6. Of Major Cowel (in part), for Mrs. 

dowel's portrait, Kitt Katt . 20 o o 
8. Of Mr. Tibbit (as last half), for 

Mrs. Tibbit and child . . 162 15 o 
July 4. Of Mr. DowdeswelJ, for a portrait 

of the Marquess of Anglesea . 63 o o 
And frame . . . . 7 7 o 

13. Of Sir J. Owen, for frames, pack- 
ing-case, &c. . . . . 34 8 4 
Of Mrs. Gooch (for the remainder), 
for a three-quarter (half-price, 
being small) . . . . 1656 

From the original portrait 


s. d. 

July 16. Of Mr. Every (in part), for his own 

portrait . . . . . 50 o o 
24. Of Mr. Wm. Banks, as a loan to 
Henry [i.e., H. W. Beechey], in 
order to enable him to prosecute 
his discoveries in Africa . . 100 o o 
Of Mr. Rignall (as half-price), for 
a whole-length of Mrs. W. 

Martin 131 5 o 

27. Of Mr. Blakes, three-quarter (old 

price) 52 10 o 

Aug. 6. Of Sir J. Beresford . . . 7500 

Sept. 10. Of Mr. Nollekens, for a portrait of 

Miss Chambers . . , . 50 o o 

Oct. 7. Of Mr. Wyndham Martin, as last 
half and two whole-length frames,, 
one for Mrs. W. Martin, and one 

for a picture of . . . 201 o o 

1 6. Of Mr, Worthington, for a portrait 

of Mrs. W., with hands . . 73100 

Dec. 24. Of Major Cowel (owes 4 los.) , 70 o o 

1921 15 10 

s. d. 

Jan. 3. Of Mr. Ward, for himself and Mrs. 

Ward 105 o o 

Feb. 24. Of Mrs. Gosling (as half), for Mr. 

Bennett Gosling . . . 31 10 o 
22. Of Mr. Nollekens. . . . 100 o o 


s. d. 

Mar. 15. Of Mr. Worthington. for frames . 15 o o 
Of Mr. Duiidas, for first payment of 

his portrait . . . . 66 2 6 
Apr. 10. Of Mr. Perceval, for two copies of 
the late Spencer Perceval and 
the frame ..... 132 10 6 
28. Of Mr. Goodrich [?] . . . 100 o o 
May 21. Of Mr. Dundas (last half) . . 65 2 6 
23. Of the Marquis of Chandos (due 

odd shillings and frame) . . 125 o o 
27. Of the Duke of Buckingham, for 
the Duchess of B.'s picture and 
packing-case . . . . 87 13 9 
July. Of Mr. Claridge, three- quarter 

himself 63 o o 

Aug. ii. Of the Vice- Chancellor [? Leach] . 210 o o 
Of Mr. Marchbanks, for a portrait 
of Miss Trotter (with a hand) and 

frame 74 n o 

1 8. Of Charles Spencer . . . 49 9 o 
Of Sir G. Jerningham . > . 48 15 o 
Sept. Mr. Tibbit, frame, packing, &c. . 38 o o 
Oct. ii. Of Mr. Merriman, for frame, pack- 
ing-case, &c. . . . . 22 12 8 
Of Mr. Lowndes (in part of pay- 
ment), whole-length . . . 100 o o 
Nov. 25. Of Mr. Lowndes (as last half), him- 
self, and half-price for his father 215 o o 
Dec. i. Of Goodrich . , , 100 o o 

Mr. Lowndes, a present to Sir Wm. 52 10 o 

1741 16 ii 



s. d. 

Feb. 6. Mrs. Rothschild [?] . . . 150 o o 
Apr. 27. Of Mr. Goodrich . . . roo o o 

21. Of Mr. Riddle . . . . 21 5 o 
May 3. Of Wm. Willdns, fora copy of Mrs. 

Wilkins and child, for his sister . 52 10 o 
6. Of Mr. Duncombe (as half), for 

Mrs. Duncombe . . . 52 10 o 
Of Mr. Turner, for a sketch of 

Vandyke . . . . . 21 o o 
June 1 2. Of Sir Richard Joddrell . . 131 5 o 

14. Of Mr. Duncombe (as last pay- 

ment), for Mrs. Duncombe . 52 10 o 
Of Lady Forbes (as half ) . . 31 10 o 
24. Mrs. Desborough . . . . 31 10 o 
Aug. 4. Of Mr. James [?] (as half), for 

Mrs. Manning . . . . 26 5 o 
9. Of Mr. Lowndes, for a portrait of 

his daughter . . . 63 o o 
Sept. i. Of Miss James [?] (last half), Mrs. 

Manning . . . . . 26 5 o 


s. d. 

May 8. Of Mrs. Peyton, for three-quarter . 63 o o 
10. Of Mr. Hemmins (as half), for 

three-quarter himself . . . 31 10 o 
12. bf Mr. Savill Only (as last half), 
for his own portrait (the other 
half having been paid at 
Norwich), half-length . . 64 2 6 


s. d. 

May 1 6. Of Mi. fiendish (as first half), 

himself, three-quarter . . 31 10 o 

14. Of Sir Rd. Jodrell (as last half), for 

Lady Jodrell .... 131 5 o 

24. Of Mr. fiendish (as last half) . 31 10 o 

26. Of Mr. Every (27 in rest of bill 

due to Sir Wm.) . . . 17 o o 
June 1 1. Of Rev. Mr. C. H, Preston (as 

hah), for whole-length of his lady 131 5 o 

1 8. Of Mr. Ward (as half) . . . 47 5 o 

Of Mr. Vernon (part of 60 guineas) 30 o o 

Sir J. Ashby (in part) . . . 70 o o 

July. Of Mr. Rothes [or Rhodes] (as first 

part), his own portrait . . 131 5 o 
12. Of P. P. Egerton (as half), for a 
copy of the late Sir J. Egerton, 
three-quarter . . . . 31 10 o 
Of Mr. Lowndes (in full), for his 
father's portrait and a copy of his 
daughter 168 o o 

27. Of Mr. Ward (as last half) . . 63 o o 
Of Mr, Buxton, for (half-price) 

Miss Cholmondely, whole-length 131 5 o 
Aug. 4. Mrs. Norton, half-length . , 65 12 6 
Oct. 1 8. Of Gen. Wetherell (as first pay- 
ment), for Miss W. . . . 33 o o 
Nov. 14. Gen, Wetherell (last half), for Miss 

Wetherell, three-quarter . . 30 o o 

Dec. Of Sir P, Egerton (in full) . . 31 10 o 

^1498 10 6 



s - d 

Jan. 19. Of Mr. Rhodes (for the last price), 

two whole-lengths . . . 262 10 o 
21. Of Mr. Buxton, for Mrs. Buxton . 135 5 o 
Mar. 2. Of Sir John Ashby (last half). . 78 5 o 
20. Mr. Burgess, for a copy of Mrs. 
Sheridan [by Sir J. Reynolds], 
intended for the late R. B. 
Sheridan,, Esq. . , . . 178 10 o 
June 3. Of Capt. Kingston (as half) . 31 10 o 

May 28. Of Mr. Lowndes (on account) . 21 10 o 
June 5. Of Col. Edwards, for a Bishop's 
half-length of Mr. Ashton Smith, 
for the Corporation . . . 157 10 o 
27. Of Lady Buckinghamshire (as half), 
for whole-length on a Bishop's 
half-length ... 89 5 o 

Aug. Of Mr. Kits, for three-quarter . 63 o o 
Oct. 5. Of Lord Ailsbury (as half-price), 

for Lady Ailsbury . . . 131 5 o 
27. Of Mr. Lowndes (on account) . 63 o o 
Nov. 10. Of Mr. Hains (as first payment), 

three-quarter . , , . 31 10 o 
Dec. ii. Of ditto (as last payment) . . 31 10 o 

^1302 10 o 

[The totals and the order (not always strictly con- 
secutive) of the entries are according to Beechey's own 



THE ensuing lists contain, it is believed, a full and com- 
plete enumeration of all the portraits and other pictures 
sent by Sir William Beechey, his wife and their children, 
to the various public exhibitions in England. These lists 
might be considerably extended, seeing that several of 
Sir William's grandchildren and great-grandchildren con- 
tinue up to the present day (and in other names) to 
exhibit pictures. It has been considered advisable to 
come down no farther than his children, who are here 
included because many of their portraits and other works 
have been confused with those of their father. The 
period covered by these entries is just over a century, from 
1776, when Beech ey himself first exhibited at the Academy, 
to 1877 ^vhen R. B. Beechey was represented at the 
Academy by a picture of the North Polar Expedition. 




20. A small portrait. 
20.* Ditto. 

* To be disposed of. 


21. Two small portraits. 


14. Two small portraits. 


13. A gentleman, a small whole length. 

14. A conversation. 


28, Portrait of a gentleman. 

48. A lady playing on a harp. 
223. A family. 
366. Portrait of a gentleman. 

222. Portrait of a gentleman. 
235, Portrait of an officer (Mr. Lloyd). 

205. A family. 
247. A lady in the character of Venus, vide i JEn. of 

427. Portrait of a gentleman. 

[1783. For exhibits this year at Society of Artists see 
p. 279.] 

1785. NORWICH. 
128. Witch of Endor. 
1 68. Portrait of a clergyman, small whole length. 


170. Portrait of a gentleman, small whole length. 

183. Portrait of a gentleman, kit-cat [? George Mai thy]. 

242. Portrait of a clergyman. 

244. Portrait of a lady. 

385. Portrait of a lady, three-quarters. 

415. Portrait of an officer, small whole length. 

427. Portrait of a lady, three-quarters. 

1786* NORWICH. 
1 6.* A gypsy fortune-teller. 
i8.*The conjuror. 

21. Portrait of Master Crotch, the celebrated musical 

67. Portrait of an artist. 

68. Portrait of a gentleman. 

1 10. Portrait of a gentleman, small, 
in. A conversation. 

200. Portrait of a lady, half length [? Miss Ives], 
239. An allegorical picture, painted for the Society of 
United Friars in Norwich, 


96. Portrait, a small whole length. 

54.*Lavinia returned from gleaning, vide Thomson's 


158* Portrait of a lady. 
185. Portrait of an officer on an outpost in America, 

small whole length (Captain Boyce). 

* To Tbe disposed of. 


188. Portrait of a lady, small whole length (Mrs. Ives of 


215. Portrait of a gentleman (Jeremy Ives, Esq.). 
24i.*Iris^ by command of Juno, requests Somnus/ the 

god of Sleep, to send a dream to Alcyone, vide 

Dryden's " Fables." 

416. Portrait of a gentleman (Mr. Robinson). 
424-*Donna Mencia, recovering from a swoon, discovers 

the horror of her situation, vide "Gil Bias," 

vol. i. 
429. Portrait of an artist (Dominic Serres). 

6. Portrait of a lady. 

141. Portrait of a gentleman (Mr. Herbert). 
177. Portrait of a lady. 

204. Portrait of a Bishop (Douglas of Carlisle). 
222. Portrait of an artist (Mr. Cooper). 
241. Portrait of an artist (Mr. Sanby, R.A.). 
356. Portrait of a naval officer. 


50. Portrait of a young nobleman (Lord Haddo). 

87. Portrait of a nobleman (Lord Macartney). 
125. Portrait of a nobleman in the dress of the Scottish 

Society of Archers (Lord Morton). 
131. Portrait of a nobleman (Duke of Montagu). 
212. Portrait of a nobleman (Lord Stopford). 
281. Portrait of a young nobleman. 
405. Portrait of a young nobleman (Lord Dalkeith). 
412. Portrait of a gentleman. 
420. Portrait of an artist (Mr. Beechey). 

* To be disposed of, 


52. Portrait of a lady of quality. 

127. A nobleman's family, with a dog. 

205. Portraits of a gentleman's family (Mr. Oddie's). 

257. A gentleman's family., with a dog. 

269, Portrait of a young nobleman (Lord Frederick 


271- Portrait of a young gentleman, 
372. Portrait of a gentleman (Robert Wilmot, Esq.) 
423. Portrait of a young lady. 
442. Portrait of a gentleman. 


98. Portrait of a lady [in the index this is put to 

Dupont, and is said to be Lord Harrington], 
in. Portrait of an artist (Mr. Thomas Sandby), 
142. Portrait of a young gentleman (Mr. Cooper's son), 
j 66. Portrait of a lady (Lady Herbert). 
317, Portrait of a naval officer (Captain Montgomery). 
407. Portrait of a gentleman (Mr. Greenwood). 
427. Portrait of a gentleman (Mr. Campbell). 
515, Portrait of a nobleman (Lord Herbert). 
537, Portrait of a gentleman (Mr. Meux). 

39. Portrait of a young gentleman. 

82, Portraits of children relieving a beggar boy (Sir J. 

Ford's children). 

178. Portrait of an officer (Colonel Barry). 
217. Portrait of a lady (Mrs. Burch), 



9. Portrait of a lady of quality (Lady Arden). 
22. Portrait of a clergyman in his academical dress (Dr, 


84. Portrait of a gentleman (Mr. Wallis or Wallace). 
121. Portrait of a nobleman (Lord Tracy). 
127. Portrait of Mrs. Siddons, with the emblems of 


228. Portrait of a bishop (Sutton, of Norwich). 
234. Portrait of a clergyman (Dr. Strachey)* 
274. Portrait of a gentleman* 
317. Portrait of a gentleman. 


40. Portrait of a gentleman (Rev. Mr. Le Mesurier). 

65. Portrait of a lady (Mrs. Meux, jun.) 

70. Portrait of a lady (Miss De Vismes). 

73. Portrait of a gentleman (Mr. Foley). 

84.*Children going to bed. 

85. Portrait of a lady (Miss Watson), 
no. Portrait of an admiral (Sir Thos. Pasley). 
186. Portrait of a lady of quality (Lady Caroline Camp- 

213. Portrait of a general officer (Major-Gen. Clarke)* 

214. Portrait of a gentleman (Mr. Hodges). 
268. Portrait of a gentleman. 

93, Portrait of a young lady (Miss Hoxby). 
107. Portrait of a gentleman (Sir Philip Stephens), 

* To be disposed of. 


158. Portrait of a lady (Miss Hadfield). 

1 88. Portrait of a lady of quality (Lady Young). 

210. Portrait of a lady (From E. India: Mrs. Johnson). 

233. Portrait of a lady of quality (Lady Rous). 

298. Portrait of an officer (Captain William Earle). 

314. Portrait of an officer (Captain Earle). 

348. Portrait of a gentleman (Mr. Makepeace). 

356. Portrait of a comedian (Mr. Banister, jun.) 

504. Portrait of a gentleman (Mr. Meux). 


73. Her Royal Highness Princess Amelia. 

80. H.R.H. Princess Augusta. 

91. H.R.H. Prince of Wales, 

92- Portrait of Her Majesty* 

106. H.R.H. Princess Mary. 

107. H.R.H. Princess Elizabeth. 

150. Portrait of a nobleman (Lord Cardigan). 

165. Portrait of a celebrated actress (Miss Leake, the 

196, Portrait of Master Hatch, as marshalFs attendant 

at the Montem. 

295. Portrait of a gentleman (Sir John Wodehouse). 
469. Portrait of a gentleman (Mr, Littledale). 


169. Portrait of Lady Cawdor. 

178. His Majesty reviewing the Third or Prince of 
Wales's Regiment of Dragoon Guards, and the 
Tenth or Prince of Wales's Regiment of Light 
Dragoons, attended by H.R.H. Prince of Wales, 
H.R.H. Duke of York, Sir W. Fawcett, General 
and Adjutant-General, and Kxiight of the Bath, 


Lieut.-General Dundas, Quartermaster-General 
and Major-General Goldsworthy, His Majesty's 
first Equerry. 

215. Portrait of Mr. J. Trotter, 
221. Portraits of Mr. Wedderburn's children. 
234. Portrait of Mrs. Ed. Long, 


69 Portrait of Mrs, Gooch. 

89. Portrait of the Marquis Cornwallis. 

95. Portrait of Sir William Young. 

100. Portrait of Miss Lushington as a Bacchante. 

174. Portrait of Mr. Kemble. 

209. Portrait of Mr. Boulton, of Soho, Staffordshire. 

228. Portrait of Lady Carberry. 

269. Portrait of Mr. Browne. 

272. Portrait of Mr. Hope in a Turkish dress. 

[The numbers as above differ in different editions of the 
catalogue, but the portraits are the same.] 

5. Portraits of Mrs. Hill and Child. 

49. Lord Carnarvon. 

68. Her R.H. the Duchess of York. 

69. The King. 
ii2. Captain Foley. 
179. Lady Beechey. 

283. Portrait of Mrs. Greenwood. 
536. Portrait of Master Gosling. 


79. Portrait of H.R.H. the Duke of York. 


74. Portrait of a gentleman, 

in. Portrait of a child picking up shells by the sea-side. 
416. Portrait of Mr. Heaviside. 

128. The Bishop of Chester [Majendie], 
162. Mrs. Spicer. 
171. Marquis of Salisbury. 
178. Miss Mellon in The Honeymoon. 
184. Earl St. Vincent. 
216. Mr. J. Penn. 
256. An Officer in the Volunteers. 

8. Portrait of Mrs. Bates. 

37. Portrait of Sir J. Earl. 
48. Portrait of Earl St. Vincent. 
93. Portrait of H.R.H. the Duke of Gloucester, 
107. Portrait of the Countess of Breadalbane. 

169. Portrait of the Earl of Buckinghamshire. 

170. Children of Mr. Phipps. 
182. Portrait of Mrs. Langley. 

57. Portrait of Lord Mulgrave. 

68. Portrait of a lady of quality (Countess of Qrmond). 

80. Portrait of a young lady. 
118. H.R.H. the Duke of Cambridge ; for the Committee 

of the Asylum. 
127. Portrait of a lady, 
270. Portrait of a gentleman. 


95. Adoration Portrait of Lady Georgiana Bathurst. 
125. Portrait of Lord Nelson. 
144, Portrait of H.R.H. Prince Augustus. 
1 68. Portrait of Lady Folkestone. 
206. Rebecca: a portrait, 
2 33 Portrait of a lady. 
252. A little girl dressing herself (Miss Home). 


13. Mrs. Montagu and her sister decorating the bust of 

61. Portrait of H.R.H. the Duke of Cumberland. 

jg. Portrait of Mrs. Skottowe. 
1 01. Portrait of Mr. Watt, of Soho, Staffordshire. 
123. Portraits of Lady Temple and her son, Lord Cob- 

170. Portrait of Sir William Hamilton. 
192. Portrait of H.R.H. Princess Augusta. 
274. Portrait of Mr. Watts. 

1 1 . Portrait of Miss Hal ton. 

55. Portrait of the Right Hon. Earl Romney. 

65. Portrait of Sir W. Staines. 
117. Portrait of Mrs. Symonds and family. 
129, Portrait of Her R.H. the Princess Sophia of Glou- 


6. Hebe. 

15. Psyche. 

22. Portrait of a lady and her children. 

65. Portrait of & lady. 


74. Portrait of a gentleman. 

in. Portrait of a child picking up shells by the sea-side. 
416. Portrait of Mr. Heaviside. 

128. The Bishop of Chester [Majendie]. 
162. Mrs. Spicer. 
171. Marquis of Salisbury. 
178. Miss Mellon in The Honeymoon. 
184. Earl St. Vincent. 
216. Mr. J. Penn. 
256. An Officer in the Volunteers. 

8. Portrait of Mrs. Bates. 

37. Portrait of Sir J, Earl. 
48. Portrait of Earl St. Vincent. 
93. Portrait of H.R.H. the Duke of Gloucester. 
107. Portrait of the Countess of Breadalbane. 

169. Portrait of the Earl of Buckinghamshire. 

170. Children of Mr. Phipps. 
182. Portrait of Mrs. Langiey. 

57. Portrait of Lord Mulgrave. 

68. Portrait of a lady of quality (Countess of Ormond). 

80. Portrait of a young lady. 
118. H.R.H. the Duke of Cambridge; for the Committee 

of the Asylum. 
127. Portrait of a lady. 
270. Portrait of a gentleman. 



1 8. Portrait of a lady (Mrs. Leeds). 

62. Portraits of Mrs. and Miss Wetherell [? Cockerell]. 

71. Portrait of Lord Gambier. 

82. Portrait of a nobleman (the young Marquis of 

93. Portrait of Mr. Wilkie. 

126. Portrait of a lady of quality (Marchioness of Sligo). 
147. Portrait of Mr. Gambier. 
387. Portrait of Alderman Ansley, late Lord Mayor. 


2 1 . Portrait of a gentleman and his children [probably 

Mr. Myers and children]. 
38. Portrait of a lady of quality. 
42. Portrait of His Excellency the Persian Ambassador. 

72. Portrait of a lady of quality. 

113. Portrait of Mrs. Dickons as Margarita in the opera, 

No Song No Supper. 
147. Portrait of a lady of fashion. 
170. Portrait of a nobleman. 
183. Portrait of an eminent physician. 


19. Portrait of a lady, 

5 1 . Portrait of a nobleman. 
79, Portrait of a gentleman. 
89. Portrait of a lady. 

99. Portrait of His Excellency the Persian Ambassador, 
in the dress in which he was first introduced to 
His Majesty. 
193. Portrait of the Countess of Albemarle. 


199. Portrait of J. Egerton, Esq., M.P. 
437. Portrait of Sir H. Halford. 


29. Portrait of a Student of Emanuel College, Cam- 

78. Portrait of Sir R. Preston. 
102. Portrait of J. Nollekens, Esq., E.A. 
113. Portrait of H.R.H. the Duke of York. 
157. Portrait of his Highness the Duke of Gloucester. 
262. Portrait of W. Salte, Esq. 
299, Portrait of Admiral Markham. 

119. Portrait of a gentleman. 

175. Portrait of a gentleman. 

197. Portrait of a lady of quality. 

198. Portrait or the Right Hon. Spencer Perceval. 
221. Portrait of the late Sir F. Bourgeois, R.A. 
226. Portrait of Sir A. Clarke. 

296. Portrait of a Colonel of the East India Volunteers. 
356. Portrait of Mr. Perceval. 


[Portrait Painter to Her Majesty the Queen and to 
H.R.H. the Duke of Gloucester.] 

30. Portrait of a lady of quality as Hebe, 

63. Portrait of H.R.H. the Duke of Cambridge. 

94. Portrait of Mr. E. Gambier. 

1 60. Portrait of P. Free, Esq. 

183. Portrait of Sir B. Graham. 


97. Portrait of Sir P. Warburton. 

159. Portrait of H.R.H. the Duke of Kent (whole 


164. Portrait of General Sir T. Picton, K.G. 
228. Portrait of S. Kilderbee, Esq. 
305 . Portrait of Captain Watson. 
311. Portrait of Lord Maynard. 


i. Portrait of the Bishop of Chester (G. H. Law). 
19. Portrait of Lord Hill, 
37. Portrait of Lady Berwick. 
83. Portrait of Hon. Mrs. Vernon. 
88. Portrait of Lady Bernard. 
112. Portrait of H.R.H. the Duke of Sussex. 
129. Portrait of Lady Owen. 

334. Portrait of the Hon. Captain Peachey, whilst Lieu- 
tenant of the Cornwallis, on March i, 1810, 
having been all night in pursuit of a national 
brig corvette, seen the day preceding, discovered 
her at break of day in the distance. 

i . Portrait of Master Brooks, a child of three years of 

age, as St. John. 
36. Portrait of a gentleman. 
49. Portrait of the Marchioness of Hastings. 
103, Portrait of the Marquis of Anglesea. 
* 73- Portraits of Lady Arbuthnot and family. 
200. Lord Exmouth, towards the close of the evening^ 
ordering the sails of the Queen Charlotte to be 


hauled in, in consequence of the burning of an 
Algerian vessel immediately under her stern. 

229. Portrait of Mr. Skelton, 

324. Portrait of Colonel Grey. 


[Portrait Painter to Her Majesty, and to their Royal High- 
nesses the Duke and Duchess of Gloucester.] 

33. Portrait of Mr. Coutts. 

46. Portrait of the Right Hon. Lord Erskine. 

62. Portrait of Her R.H. the Duchess of Gloucester. 

86. Portrait of W. Leake, Esq. 

137. Portrait of Admiral Sir G. Campbell. 
153. Portrait of Mrs. Coutts. 
214. Portrait of Mrs. Riley. 
315. Portrait of Mrs. W. Noel. 

57. Portrait of Hugh Leicester, Esq. 

77. Portrait of H. R.H. the Duke of Gloucester. 

87. Portrait of H. R.H. the Duchess of Cambridge. 
97. Portrait of H. R.H. the Princess Augusta. 

205. Portrait of Lady Stanley. 

266. Portrait of the Vice-Chancellor (Sir John Leach). 

299. Portrait of James Ferguson, Esq. 

333. Portrait of a lady. 

23. Portrait of Lady de la Warr. 

82. Portrait of H.R.H. the Duke of Kent. 
100. Portrait of Cecil Forester, Esq. 
177. Portrait of a lady. 


198. Portrait of Lady Katharine Forester. 
346. Portrait of Lady Harrietta Clive. 


34. Portrait of a lady [Miss Fuller] in the character of 

86. Portrait of a gentleman. 

90. The Birds' Nest. 

186. Portrait of the Earl of Aylesbury (i.e.^ Ailesbury). 
334. Portrait of Hugh Leicester, Esq, 

27. Portrait of the Rev. Dr. Foster Pigot. 

66. Portraits of H.R.H. the Duchess of Kent and the 

Princess Alexandrina Victoria. 
95. Portrait of Sir Alexander Cochrane. 
238. Portrait of Sir John Beresford. 
288, Venus and Cupid Cupid having lost his arrows^ 
&c., at dice with Ganymede, is reproved by 
Venus (see Prior's Poems). 

29. Portrait of Mr. Symmons. 

68. Portraits of a lady and child. 

157. Portrait of a lady. 

193. Portrait of a young lady. 

201. Portrait of a lady. 

326. Portrait of a lady. 

439. Portrait of Mr. Ward. 


64. Portrait of Sir George Cockburn, K.G.C.B. 
75. Portrait of a lady of fashion. 


88. Portrait of a lady. 
124. Portrait of T. Lowndes, Esq. 
302. Portrait of a gentleman. 
401. Portrait of a gentleman. 

7. Portrait of Elisha Dehague, Esq. 

92. Portraits of the lady and daughter of Sir R. P. 
Jodrell, Bart. 

97. Portrait of H.R.H. the Duke of Gloucester, 
in. Portrait of a lady. 
194. Portrait of P. M. Martineau, Esq. 
283. Portrait of Charles Saville Only, Esq. 

55. Portrait of a lady. 

85. Portrait of the Rev. Dr. Davy, D.D., F.A.S., F.R.S. 
104. Portrait of Sir George Nayler, Kt., K.G.H., K.T.S., 


131. Portrait of Sir J. Dugdale Astley, Bart., M.P 
256. Portrait of a lady. 


86. Lillian. 

" Up the maiden gazed, 
Smiling a pale and terrified delight, 
And seem'd for that lov'd warbler in her breast 
Beseeching mercy." 

" Lord of the Bright City/' p. 73. 
152. Portrait of Captain Schomberg, R.N. 
187. Portrait of Major H. D. Campbell. 
439. Portrait of a gentleman. 



ir. The Little Gleaner [Miss A. D. Beechey], 

5 1 . Portrait of an officer, 

60. Portrait of Lord Grantley. 

87, Portrait of a lady of quality. 

146. Portrait of the Bishop of Bath and Wells (Law). 

190. Portrait as Flora. 

405. Portrait of Dr. Lamb, Master of Corpus Christ 
College, Cambridge. 

15. Portrait of Captain Usher. 

43. The lady in St. Swithian's Chair, from the first 
volume of <f Waverley " : 

** Is it the moody owl that shrieks, 
Or is it that sound betwixt laughter and scream, 
The voice of the demon who haunts the stream ? " 
208. Portrait of Charles Dumergue, jun., Esq. 
301. Portrait of E. H. Baily, Esq., R,A. 
4 44, Portrait of the Rev. Charles Este. 

25. Portrait of a gentleman. 

40, Psyche: 

* Elle remonte enfin les enfers beaucoup plus 
gaie qu'elle n'y etoit altee." French translation 
of Apuleius." 

47, Portrait of His Grace the Duke of Somerset. 
156. Portrait of the Bishop of Ely (Bower E. Sparke). 
193, Portrait of Joshua King, Esq., Fellow of Queen's 
College, Cambridge; presented by the under- 


graduates of that college, to be placed in their 


222, Portrait of the late Chichele Plowden, Esq. 
302. Portrait of a gentleman. 


65. Portrait of His Majesty, painted for the Trinity 

House as Master of that Corporation. 

66. Portrait of Her Majesty, painted for the Corpora- 

tion of the Trinity House. 
127. Portrait of William F. Norton, Esq. 
177, Portrait of the late Lord Mayor (Crowder). 
264. Portrait of a lady. 


87. Portrait of Viscountess Hood. 

197. His Majesty. 

216. Portrait of Viscount Hood. 

254- Portrait of S. [? T.] B. Mash, Esq. 

476. Portrait of Dr, Ashburne. 

71. Portrait of His Majesty. 

313. Portrait of the Bishop of Chichester (Maltby), 

20. Portrait of Miss Home* 

87. Portrait of Miss Wilkins. 
162. Portrait of Mrs. Harkness. 
204. Portrait of a lady. 
308. Portrait of Archdeacon Wilkins. 


67. Portrait of Mrs. Herbert N. Evans. 

1 60* Portrait of Sir Charles Seudmore, 

208. Portrait of Miss Emma Robarts, 

323* Girl's Hetul, 

370. Portrait of Mrs. lanes. 

392. Portrait of Mrs. Charles Storer, 

43. Miss Beresforc!. 
78. Miss Wood. 
219, l>r. Southey, M.IX 

364* Mr. Sand by. 

382. Sir William Beeehey. 

41. Portrait of the late Mr. Parke. 
1 3 K Portrait of a lady. 
36 1 . Portrait of a lady. 
461. Portrait of Mm. Sharpe, 

26, Portrait of the late Bishop of Madras (Corrie). 

Portrait of Miss Owen as Psyche. 


1785. Mr. BBACHXY (w), NORWICH. 
31 . Portrait of a lady, whole length. 
33. Portrait of A gentleman, three quarters. 
33. Portrait of a family, small whole lengths. 




50. Psyche. 
59. Venus and Cupid. 
14. A view near Margate. 


64. Bravery and Humanity. 

In the first expedition of the British troops 
to Flanders in the late war the French had 
pillaged a cottage and left its miserable in- 
habitants without bread, telling them " they 
ought to think themselves very well off, for the 
English were coming, and would not only rob 
but murder them." A party of the Guards 
arrived soon after, and, on learning the treat- 
ment they had received, pulled off their haver- 
sacks and supplied them with what provisions 
they could spare, 38 x 33. 
109. Old man's head (a study). 43 x 38. 


65. Rustic ruminating. 15x12. 

169. View near South end, Essex. 25 x 32. 

194. View of Leiglr, from the hamlet of Prittlewell 

Southend, Essex. 26 x 32. 
202. View at Southend, Essex. 26 x 32. 
329. A monk at his devotions. 41 x 36. 


43. Hebe feeding the eagle of Jupiter. 72 x 60. 
54. Venus and Cupid (a study). 28 x 23 


75. Venus and Cupid (a study), 28 x 23. 


91. Cottagers returning thanks to Heaven for their pre- 
servation from a recent storm. 44 x 36. 

117. Gipsies regaling themselves. 55 x 64. 

4. Hebe feeding the eagle of Jitpiter. 133 x 78. 


29. Meg Mexrili es, 33 x 30. 
117, The Evening Star. 38 x 45. 

" Star of descending night ! fair is thy light in the 

The waves come with joy around thee, and hathe 

thy lovely hair." OSSIAN, 
12 x. Si. John in the Wilderness. 

289. A view of the sandbank chalybeate spring lately 
discovered in the Isle of Wight. 39 x 60. 

1 6. Hebe. 125 X9$. 


50. Venus chiding Cupid for having lost his bow and 
arrows with Ganymede at hazard. (From Prior's 
'* Cupid and Ganymede," p. 75.) 42 x 36. 
125, A landscape, with gipsies. 42 x 36. 
228, Psyche, from the "Golden Ass" of Apuleius. 
39 * 34- 



2. Psyche, vide Apuleius. 74 x 60. 


51. Cottage children going to bed. 40 x 34. 


52. The Lady in St. Swithian's chair. 114 x 76. 

" The Lady she sate in St. Swithin's chair. 
The dew of the night has damp'd her hair : 
Her cheek was pale : hut resolved and high 
Was the word of her lip and the glance of her 
eye." " Waverley," i. p. 125. 

44. A sketch from Nature. 34 x 27. 

1835. Catalogue not in British Museum. 


257. A landscape. 24 x 28. 

258 The unexpected Return of the Fisherman, who was 
supposed to have been lost upwards of a fort- 
night (a scene from Nature, sketched on the 
spot). 24x28. 

259. A view in the Highlands of Scotland. 24 x 28. 



46. Landscape. 

92. The late Mr. Park. 

101. Sir F. Bourgeois, founder of the Woolwich Gallery. 
107. Gipsies removing their tents. 
209. Black Gang Chine, in the Isle of Wight. 

33 Hebe. 





462. Drawing. 

584. Ditto. 
596. Ditto. 
658. Ditto. 
662. Ditto, 


505. Portrait of a lady (Miss Briggs). 

539. A frame with five portraits (Miss Leake [or Locke], 

Mr. Hicks, Master Beechey, Miss Moriss, Mr. 

542. Portrait of a gentleman (Mr. Lesley). 


87 r. Portraits of Miss Leake, Miss R. Bannister, three 
Miss Beecheys. 



783. Portraits of Miss Leake, Mrs. Wheatly, Mr. and 
Miss Boulton, and Lady Beechey. 



729. Portrait of Miss A. D. Beechey. 

356. Miss Beechey. 




335. H.M.S. Madagascar, off Gibraltar, 

321. Experimental Squadron under Codrington., 1831. 

243. H.M S. Phaeton beating into Gibraltar. 

1010. Picking up a Lame Duck (a timber ship), 

555, Dutch galliot in a fresh breeze in the North Sea. 


595. The clay after Trafalgar [quotation from James's 
Naval History "]. 


32. The east coast of Greenland and steam yacht 
Fox while employed surveying the route foi 
the North Atlantic telegraph, under the com- 
mand of Allen Young, Esq., F.R.G.S., 1860. 



550. The Bay of Biscay [quotation, "The dismal wreck to 


416. The Eddystone Lighthouse, with H M.S. Prince 
Consort, ironclad, a sailing frigate, Trinity Board 
cutter, trawlers, &c., in the distance. 

419. ** Over the Bar " (ships in a gale). 


34. Destruction of H.M.S. Bounty, by fire, off Monte 
Video, Feb. 1865. From sketches and personal 
information obtained from Captain Campbell and 
other officers who were present, 

650. A Lee shore. 


676. A water-logged and abandoned timber vessel being 
brought into Black Sod Bay, West of Ireland, by 
the coastguard, the natives in their " curraghs " 
(canvas-covered boats) profiting by the occasion ; 
the cliff, upwards of 2000 ft., represented in the 
distance, forms part of the west coast of Achille 


392, w The sea is His, and He made it." 



98. " The only flag that freedom rears, 

Her emblem o'er the seas, 
Is the flag that braved a thousand years, 
The battle and the breeze," 


1039. South Stack Lighthouse, Holyhead ; gale moderat- 


1416. Death of Palemon (from Falconer's "Shipwreck "). 

828. The Rescue. 


J 339- North Polar Expedition, commanded by Captain 
Sir Geo. Nares. The most northern encamp- 
ment of the sledge party under Captain Mark- 
ham and Commander Parr, detached from H.M. 
ships Alert and Discovery, May 12, 1876. Lat. 
83' 20" N. 

1833 (Lieut, R.N.) 

285. English squadron in the Downs, 12 x 15. 

295. Sketch near Hastings, 12x15. 

439. H.M.S. Madagascar off Gibraltar, 36 x 40 



313. Fishing-boats running into harbour, 21 x 24. 

317. The dangerous situation of H.M. ship Fisgard, Cap- 
tain T. Byara Martin, endeavouring to weather 
the rocks off Ushant, having been embayed be- 
tween that and Abreuvac, and carrying perhaps 
the greatest press of canvas ever known under 
similar circumstances. 21 x 24. 

439. The French brig La Mutine driven on shore and 
destroyed by H.M. brig Racoon, Captain Bissel^ 
off San Jago in the Island of Cuba. 39 x 48. 


98. Shorten Sail ! Price 21. 
215. Hooker, off Cork Harbour. 31105. 


280. a They that go down to the sea in ships, and occupy 
their business on great waters. These men see 
the works of the Lord, and His wonders in the 
deep." Psalm cvii. 23, 24. 25. 



113. Sea piece. 

i So. Sea piece, breeze freshening. 
369, H.M. ship Madagascar running into Malta Harbour. 

25. Sea. piece, Gibraltar Bay. 

257. View near the Landing Place, Malta; blowing a 



280. Portrait of Miss Jones. 

301. Portrait of Mrs. Turton. 

340. Portrait of a field officer of the Life Guards. 


207. Portrait of H.R.H. the Duke of Gloucester. 
262. Portrait of a lady. 
405. Portrait of Lord Pevensey. 
412. Portrait of the Earl of Guildford. 


291. Portrait of J. Tulloch Osborn, Esq. 
323. Portrait of the Countess of Waldegrave. 
434. Portrait of the Earl of Sheffield, 

267. Portrait of a lady. 

378. Portrait of a lady. 


238. Portrait of a nobleman. 
302. Portrait of a lady. 


244. Portrait of Lady Lacon. 
254. Portrait of J, Ives, Esq. (? J. Jones). 
396, Portrait of E. Tompson, Esq. 



338 Portrait of a lady. 


221. Portrait of Lady Duberley. 
281. Portrait of T. Pinkerton, Esq. 
325. Portrait of W. Alcock, Esq. 


478. Portrait of Sir William Beechey, R. A. 
607. Portrait of Captain Beechey, R.N. 

1832 [CALCUTTA]. 
393. Portrait of a Hindoo lady [? Hinda]. 


214. Hinda. 42x36. 


395. Portrait of the artist. 



448. Portrait of Mrs. Worthington. 

BX 1829. [18 HARLEY STREET]. 
276* A view of part of Cyrene, consisting of the ancient 
monuments, and a distant view of the sea. 

[No apology is necessary for an exhaustive Index; but 
the exact scope of that which occupies the following 
pages may be briefly indicated. It comprises every proper 
name and every subject which may reasonably claim to 
render this book of use as a work of reference. The names 
(so far as they have been ascertained) of every person 
who sat to Beech ey is entered in the Index, and then- 
engravers, along with the names of his friends and con- 
temporaries. Owners, past and present, are as a rule also 
indexed, except in the cases of many family portraits 
whose owners have the same surnames as those who sat to 
Beech ey. With reference to the Account Books now 
transcribed and published for the first time on pp. 221 
26O, the names of those who paid for portraits are 
indexed, except in such cases where the husband paid for 
his wife's portrait, or the mother or father for those of 
their children. It was the custom to pay one instalment 
for a portrait at the first sitting, and the remainder either 
during the progress of the picture or when it was finished. 
This accounts for two and even sometimes three payments 
appearing on one page. Where such payments exceed 
one on a page, the number of entries is indicated by figures 
in parentheses. The names of fancy subjects and the 
titles of periodicals are printed in italics. The various 
entries in the Appendix are not indexed, as all the por- 
traits by Sir William Beechey, of which the names have 
been identified, are mentioned in the body of the book.]J 


ABERCORN, Marchioness of, 248 

Abergavenny, Lord, 221 

Abernethy, Miss, 198 

Adair, Mr., 223 

Adair, Mrs., 223 

Adams, Capt, 222 

Addie. See Oddie 

Addmgton, S., 219 

Adelaide, Queen, 172 

Adoration, 76, 158 

Agar, Capt., 226 (3) 

Agnew, Messrs., 31 

Agnew, Mrs. , 241 

Agnew, Sir H. [*.*. , Sir A.3, 238 

Ailesbmy, Countess of, 259 

Ailesbury, Earl of, 155, 223, 251, 254 

Aitisley, Mr., 248 

Albemarle, Countess of, 118, 231, 234 

Alexander, Mr. W. C., 200 

Allston, W., 15 

Altamont, Earl of, 114, 227 (2) 

Amelia, Princess, 52, 53, 54, ai8 

Anderton, Mr., 252 

Andrews, Mr., 246 

Angelo, Hy., 9 

Anglesey, Marquis of, 139* *55i 45 

250 (a), 254 
Ansley, John, 114, 228 
Arbuthnot, Col., 238 
Arbuthnot, Lady and children , 140, 


Arbuthnot, Sir R., 243, 254 
Arden, Lady, 44, 125, 237 
Arkwright [?], Mr. and Mrs., \ 
Ashburne, Dr. , 174 
Ashby, Sir J., 258, 259 
Astell, W., 115, 232, 235 
Ashley, Sir J. D. f 166 
Aubrey, Mrs. , 233, 234 
Augusta, PrmcebS, 53, 77, 148, 149, 


, 244- 

BAILY, E. H., 169 

Bambndge, Capt., 198 

Barnes, Mr. J. A., 34 

Baker, Mr., 233 (2) 

Ball, Mr., 236 

Ballock, Miss, 132, 239 

Banister, J., 6, 49 

Banks, W., 255 

Barclay, Sir &., 248 (2) 

Bardwell, T., 18 

Barry, Col., 41 

Barry, James, 22 

Bartolozssi, F., 43, 76, 113 

Baseley, C , 249 

Bates, Mrs., 107 

Bathurst, Lady G., 76 

Battle of Constantine^ 240 

Batt, Mr., 229 

Baugh, Isaac, 230 

Beaulieu, Lord, 222 

BeauMonde, JLe, 86 

Beaumont, Sir G., 109 

Bedford, Duke of, 198 

Beechey family, 179 ef seq. 

Beechey, Alfred, xg$ 

Beechey, Anna Dodsworth (Mrs. 

Jackson), 167, 184, 193, 194 
Beechey, Anne Phyllis (Mrs. H. 

Spencer), 189, 192 
Beechey, Canon St. Vincent (father 

and son), 106, 175, 180, 1:95, 

Beechey, Caroline (Mrs. Innes), 184, 

189, 191: 

Beechey, Charles, 184, 189, 191 
Beechey, Charlotte E. (Lady Grantley), 

83, 84, 194 
Beechey, Emma (Mrs. C. Spencer), 

184, 189, 190 
Beechey (Mr.) Ernest, 55, 60, 92, 144, 



Beechey, Frederick W., 180, 182, 184, 

191, 192 

Beechey, George D,, 155, l8 7. *93. 

2S o, 251. and APPENDIX, 288-9 
Beechey, Harriet (Mrs. Riley), vi., 146, 

1 02 
Beechey, Henry W., 19, 184, 189, 190, 

255, and APPENDIX, 289 
Beechey, Jane, 196 
Beechey, Lady (Anne Phyllis Jessup), 
vii., 7, 8, 27* 71-2, 184-8, 189, 190 ; 
miniatures painted by, 184-6; ex- 
hibits at Royal Academy, 27, and 
APPKNDIX, 283-4 
Beechey, Miss (of Hilgay), 189 
Beechey, Richard B. t 196, and AP- 
PENDIX, 284-8 

Beechey, S. R., APPENDIX, 289 
Beechey, Sir William, birthplace and 
relations, 3; <**, *7 8 ' exhibits 
at the Royal Academy and else- 
where, 10-178; and APPENDIX; 
first picture, 9 knighted, 61 ; t mar- 
riages, 7-8, 184; portiaits ot him- 
self, viii.. 37. 177. l88 -9 ; portnul- 
painter to the Queen, 42 ; prices, 
j 4 x ; residences m London, 17, & ; 
Royal Academician, 43, 62 ; small 
whole lengths, xo-ix ; sales at 
Christie's and Rainy's, 3X,4*45> 
65, 70. **9. *3*. *3S J 3 8 >5 8 ; *7 
17* 'XT* *73 *77 *7*; and APPEN- 
DIX, 26x-23 

Beechey, William* sen,, 3 
Beechey, William Nelson, 195 
Beggars at a Cottage, 79 
Bell, K., 75 

$*//* AtswittM** La, 54, 7*. 80 
Bendish* Mr,, 358 (a) 
Bennet, Mrs., 333 
Beresford, Lord, 239, "43 
Beresford portraits, i$ 8 ~9 

338 (a), 043* a 44 JSS 
Bertiford,SirJ-,xs rt , . , 
Bernard, Lady, i&* W. 4 (*) 
Bernard, T. } 61, 3 234, 338 
Berwick, Lady, 134, 841, (a) 
Berwick, Mn*a$a,(a), ass 
Bestland, C., ao8 
Binnoch, Mrs., 234 
Blaaw, Mr., 34 . 
Bkckburne, J,, t9 
Blades, John, 19** ^o S 4* 

Blakes, Mr., 255 
Blakeslee, Mr. T. J M 74, 212 
Blamire, Geo., 219 
Blayney, A , 199 
Bhnd Fiddler, 189-190 
Blomefield, Mr. W., 249 (2) 
Blucher, Prince, 243 
Bocquet, E., 103 

Bone, H,, 54, 69, 82, 83, 107, 154, 156, 

Borrett, Mrs., 199 

Bosanqaet, Mrs. See Ives, Miss 

Bosanquet, W., 29 

Bosworth, Lady, 134 ,, 241 

Boulton, M., 67-8, 78, 226, 231 

Bourgeois, Sir F., 81 n., 125-6 

Bourlier, M. A., 43, 71, 74, 217 

Bowes, Miss, 203 

Boyce, Capt. and Master, 31 and n., 


Boydell, Aid., 75, 105 
Braham family, 245, 254 
Bravery and Huma?nty t no 
Breadalbane, Lord and Lady, 108, 

British Institution, 89-90, no, 134, 

148, 160, 169, 174, 232 
British Museum, 61 
Broderip, Francis, 219 
Bromley, J., 126 
Bromley, W., 8x 
Brooks, Master, 139, 239 (2), 240 
Browne, Mr. (or Brown), 69, 226, 229, 

230 (2), 235, 241, 242 
Buccleuch, Duke of, 79-80 
Buckingham, Duchess of, 256 

Buckingham, Duke of, 79-80 

Buckingham Palace, 53, 77 

Buckinghamshire, Lady, 259 

Buckinghamshire, Lord, 227 

Bulkeley, Lord and Lady, 199, 224, 

Bulwer, Genl , 75 

Bui'ch, Mrs., 41 

Burdett-Coutts, Baroness, vn, , 172,201 

Burford, 3, 5 

Burgess, Mr., 8, 259 

Burnaby, Dr., 232 

Burrell, Lady, 8i.,63 

Burton, Lord, 48,212 

Buxton, Mr., 258, 259 




16, 26, 32, 42, 46, 58, 71, 76, 81 ., 

85, 104, 169, 214 
Caclell, Thomas, 199, 206 
Cadell's "British Gallery," 43, 68,70, 

75. 103, 105, 113, 126, 139, 188, 209, 

213, 217 

Caithrow, Mrs., 249 (2) 
Cams and Gonville College, 72 
Calburne, Mrs. , 226, 230 
Cambridge, Duchess of, 148, 247 
Cambridge, Dukes of, 74, 77, 80, 107, 

108, 128, 142, 150, 228, 234(2), 237, 

247 (2) 

Campbell, H. D,, 167 
Campbell, Lady C., 48, 68 
Campbell, Miss, 248 
Campbell, Sir Geo., 144-6, 245, 246 
Carbery, Lady, 69 
Cardigan, Lord, 54, 223 
Cardon, A., 68, 70 
Carew, S. H., 251 
Carey (Mrs.), as Hebe, 234 
Carnarvon, Earl of, 32, 71, 211 
Carnarvon, Grand Jury Room, 216 
Carpenter, Lady A., 223 
Carr, John, 199 
Cawdor, Lady, 238 
Cawdor, Lord, 64, 229 
Chamber's " History of .Norfolk," 7, 


Chambers, Lady, 251, 252 
Chambers, Miss, 255 
Chancellor, Mr. S., 19, 185 
Cbandos, Marquis of, 256 
Charlotte, Queen, 42-3, 52-3, 62-3, 69, 

186-7, 236 

Chelsea Military College, 73 
Chester, Bishops of. See Law and 


Chester, Mr. A., 202 
Chesterfield, Earl of, 200 
Cholmondeley, Miss, 258 
Cholmondeley, Mr., 235, 236 (2) 
Christie, Messrs,, 8, 19 n , 24, 31, 84, 

xx6, 119, 209, 210, 211, 212, 217 
Cipriani, G., 21, 22 
Claridge, Mr., 256 
Clarke, Major-Gen. A., 48, 126,336, 


Claxton, Mr., 224, 226 
Clayton, Master, 223 
Clements, Mrs , 222 
Cleveley, R., 200 

Clifford, Lady de, 231 

Clint, G., 113 

Clive, Lady H., 153 

Cluer, Mrs., 251 

Cobham, Lord, 79 

Cochran, Mr. and Mrs., 231, 232 (3) 

Cochrane, J., 82 

Cochrane, Sir Alex., 157 

Cockburn, Sir Geo., 162 

Cockerell, Mrs. and Miss, vii., 112- 


Cockerell, S. P., viii , 200 
Codrmgton, Sir W. , 200, 222 
Coffin, Admiral, 227, 235, 228 
Collins, Mr., 242, 243, 244, 247 
Colnaghi, Messrs,, 45, 82, 100, 207 
Commelme, Mrs., 170, 192 
Constable, J. , 13 
Cook, G., 106 
Cook, H., 131 
Cook, John, 24 
Cooper, Mrs., 21, 34, 221 
Cooper, R., 75, 188 
Cooper, Ramsay, 34, 39 
Cooper, Richard, 20, 33-34 
Cornwallis, Marquis, 67 
Coppell, Mrs., 200 
Corbett, Mr. J., 107 
Corrie, Daniel, 178 
Cosen C?J Lady, 250 
Cottager^ 119 
Courtown, Earl of, 221 
Cousins, S., 150 
Coutts, Mr. and Mrs,, 86, 88, 142-3, 

144, 244 (2), 245 (2), 246 (2), 250 
Coventry, The Misses, 226, 227 
Coventry, J., 232, 233 
Cowel, Mrs., 254, 255 
Cowper-Johnson, Canon, 207 
Cox, Mrs., 223 
Coxe, Rev. W., 201 
Crawford, Mr., 250 
Crawford, Rev. T, 33 
Crocket, Master, 221 
Crocket, Mrs., 224 
Crome, John, 23 
Crotch, Master, 24 
Crowder, John, 173 
Crowe, Miss, 217 
Crump, Mrs,, 224 
Cumberland, Duke and Duchess of, 

10, 77, 224, 225 
Curzon, 114, 246 


DALKEITH, Lord, 37, 222, 223 (copies) 

Darby, H. d'Esterre. 201 

Darby, John, 201 

Dashwood, Sir H.,222, 247 

Davis, Mr., 240 

Davy, Dr. M, 165, 234 

Dawe's u Life ot norland," 41-2 

Dawnay, Hon. P,, 49 

Dee, Miss, 225 

Dehague, Elisha, 163 

Delane, J. T., 46 

Delatre v. Copley, 76 

Delaware, Lady, 152, 248, 254 

Desborough, Mrs., 257 

Desenfans, N., 66-7, 126, 224 

De Vismes, Miss, 47 

Devitt, Mrs. and Miss, 252 (2) 

Devonshire, Duchess of, 25 

Dibdin, Charles, 201 

Dickons, Mrs., 116, 124, 133, 232 

Director, The, no 

Dixon, Kenneth, 201 

Dodsworth, Dr., 227 (2) 

Donkin, GenL, 61 

Donna Mencia, 31 

Dorset, Duchess of, 248, 254 

Douglas, Bishop, 33, 221 

Douglas, Sir W. H., 201 

Dowdeswell, Messrs., 153 

Dowdeswell, Mr., 254 

Downman, J., copy after, 243 (2) 

Drake, F., 201 

Drapers* Company, 225 

Dublin, Corporation oi, 224 

Dublin Society, 233 

Ducie t Earl of, 33 

Duckworth, Sir J. T. B., 202, 232 

Dufferin, Lady, 229 (2), 230 (2>, 233 

Dulwich Gallery, 66, 83 n, 125 

Dumergue, C., 169 

Duncannon, Lady, 25 

Duncombe, Mrs,, 275 (a) 

Dundas, C, 202,256(2) 

Dundas, U.-Gen., 57, S 8 

Dunkarton, R., 89, 108, aoi, 211 

Dunn, Mr,, 236 

Dyke, Mr., 229 

EARDLEV, Mr., 330, 246, 247, 249 
Earle portraits, 49 
Earle, Sir J,, 107 
Earlom, R. 75 . . 
Edinburgh Exhibition, 75 

Edwards, Col., 216, 259 

Edwards, W. C., 132 

Egerton, J., 1x8, 232, 233, 258 (2) 

Egerton, Sir P., 258 

Egremont, Earl of, 101, 202 

Elizabeth Augusta, Princess, 52, 53 

Elizabeth, Princess, 52, 226 

Eiskine, LadyL., 231 (2) 

Erskme, Lord, 143-4, 245 

Erskme, Mr., 253, 254 

Este, Rev. C., 170 

European Magazine^ 78, 140, 209 

Evans's " Catalogue of EVints," 132, 

200, 21 1 

Evans, Mrs. H. N., 176 
Eveleigh, Rev. W., 202 
Evelina, 219 
Evening Star, 147 
Every, Mr., 255,258 
Exmouth, Lord, 138 

FARINGTON, Joseph, 94 

Fawcett, Sir W., 57 

Feardall [?], Mr., 251 

Fenner, 203 

Fenton, R., 10 

Ferguson, James, 151, 246 

Ferrard, Viscountess, 229, 230, 233 

Finch family picture, 202 

FmdenE., 47 

Fishmongers Company, 105, 106, 


Fitzherbert, Lady, 249, 250 
Flora. , 81 n, 168 
Fogg, engraver, 77 
Foley portraits, 46, 48, 72 
Folkestone, Viscountess, 76 
Forbes, Lord and Lady, 224,257 
Ford Children, 40-41 
Forester, C., and Lady K., 153, 246 (2) 


Form, Mr., 231 (2) 
Forsyth, Thos.,203 
Fortune Teller, The, 20, 24 
Foster, Mr., 224 
Foster, Rt. Hon. J., 229, 233 () 
Fowler, Capt., 251 
Fraser, Sir J. F., 203 
Free, P., 127, 237 
Freeling, Sir F M 200 
Freeman , engraver, 200 
Freemasons, 239, 240 
Frith, Mr. W. P., 2 n 



Frogmore Palace, 53 n 
Fuller, Miss, 154, 251 (2) 
Fuseli, H., 21, 22, 101, 102 


Gambler portraits, 113, 127, 227, 228, 

236, 237 

Gardner, Sir Alan, 203 
Garnck Club, 66 
Geare, Mr. W. A., 217 
Gentleman's Magazine, 14, 42, 52, 

65, 163, 169, 174 
George JLIL, 56, 57-61, 63, 69, 70, 

231, 234, 245 
George, Prince of Wales (George IV.), 

52. 53. 57. 62-63, 125, 224, 242, 

244, 245 

Geremia, engraver, 77 
Gifford, Miss, 228 
Gilbert, Mr. Davis, 203 
Gilpin, S M 70 
Gipsies, 119, 174 
Gipsy Fortune Teller, 24 
Gloucester, Duchess of, 141-2, 228 
Gloucester, Dukes of, 107, 119, 148- 

9, 164, 225 (2), 226 (2), 227, 228, 

23 2 237> 239. 246, 247 
Godolphm, Lord and Lady, 203 
Goldsmid, Sir J.,7i 
Goldsmith, Miss, 209 
Goldsmiths' Company, 206, 239 
Goldswortuy, Major-Geni, 57 
Gooch, Mrs,, 67, 240, 242, 253, 254 
Goodrich, Mr., 252 (2), 256 (2), 257 
Gordon, Mr., 243 (3), 244 
Gosling portraits, 72, 244 (2), 246, 

25> 255 

Gosse, Mrs. P. H., 203 
Graham, Mr., 243 (3) 
Graham, Sir B , 12*, 237, 238 
Grantley, Lady. See Beechey, Char- 
lotte E. 
Grantley, Lord, 83, 84, 159, 167, 169, 


Grave, engraver, 46 
Graves, Mr. A., 37, 112, 128 
Gray, Capt , 225, 246 
Greathead, 84 
Green, Valentine, 80, 232 
Greenwich Hospital, 163 
Greenwood, Mr. and Mrs., 39, 72, 73, 

225, 247 
Grentell, Mr., 847 (2) 

Grenville, Mr., 242 

Greville, Mr., 229 

Grey, Col., 140, 239 

Grey, Mr. , 242 

Guelph Exhibition, 42, 105, 109, 142 

Guildhall, London, 105 n 

Guillemard, John, 203 

Gwyn, Mrs., 71 

HAD DO, Lord, 37 

Hadfield (or Hatfield), Miss, 48, and 


Hains, Mr., 259 (2) 
Haire [?], Mrs., 230 
Hale, Mrs., 221 

Halford, Sir Hy., 118, 231, 234 
Hall, Mr,, 20,243 
Hall, Mr. and Mrb., 228, 229 
Hall, T., 24 

Hallyburton, D. G.. 55-6 
Hamilton, Col., 237, 238 
Hamilton, Lady, xn 
Hamilton, Sir W., 78 
Hamilton, W., 50 
Hampton Court, 60 
Harding's "Portraits of the Royal 

Family," 74, 77 
Hardy, Capt., 204 
Hardy, T., 107, 199, 207 
Harkness, Mrs., 176 
Harkwright [?], Mr. and Mrs., 244 
Harris, Lady, 106 
Hams, Master, 222 
Harnson, Dr., 240 
Harrison, Mr., 242 
Hart, Mrs., 251 (2) 
Hasler, Mrs., 81 n, 168 
Hastings, Marchioness of, 139 
Hatch, Master, 54 
Haydon, B. R., 111 
Hazlewood, F., 207 
Head, Mr. J. M., 89 
Heaviside, Mr., 8a 
Hebe, 82-4, 1x8, 128, 148, 234, 249 
Heberden, W., 204 
Hems, 18 

Hemmms, Mr., 257 
Herbert, Charles (and Master C.}, 32, 

33, 221, 223 
Herbert, Lady C., 222 
Herbert, Lord and Lady, 39, 221 (2), 

Herbert, Mr*, 222 



Herbert, Mr. R. [? Rev. C R,], 221 
Herbert, Mrs. C? Miss] Georgiana, 

33, 221 

Herbert, Mrs., 223 
Herbert, Rev.CR., 33 
Herbert, Sir Robert G. W., 33 
Mere, Poor Boy, take this Ha'penny, 

vii., 40 
Hesketh (or Hesketts), Mr., 231, 232, 

236 (2) 

Hill. Lord, 133, 238, 239 
HiU (Mrs.), and Child, 73, 204 
Hilhngdon. Lord, 2x9 
Hilton, Miss, 82 
Hmchcliff, J. G., 7$ 
Hodges, C. H,, 200 
Hodges, Mr., 48 
Hodgetts, T., 75, 200 
Hodgson, Mr 252 (2) 
Hodson, Mrs., 235, 236 
Holl, W., 113,120 
Hood, Sir &., and Lady, 203, 224 
Hood, Viscount and Viscountess, 173 
Hope, ' ' Anastastius," 67 
Hopkins, Mrs, F. A., 189 
Hoppner, John, 9, 25, 40, 45, 50, 51, 

152, 347 (2), 255 
Home, Miss, 76, 175 
HouHon, Aid., 224 
Howard, Miss, 221 
Huddles ton, Mr., 238, 239 (2) 
Hudson, Mr. , 20 
Hume, Sir A., 233 
Hunter, Dr., in 

E, Mrs. and Master, 204-5 
India Office, 116, 138 
tnf&nt JF/ertttfa, Tfa* 65 
Ingiis, Mr., 350 
lanes, Mrs*, 176, 191 
Ms, Juno and Ateyont) 31 
Irwlnu Mr* or Mrs*, 323 
Ives, Mr. and Mrs., 31 
Ives, Miss (Mrs. Bo&anquet), 29 

JACKSON, Mr. H, J., 193 
lackson, Mrs,, 193 
Jackson, Rev. H., 194 
James, Miss or Mr n 257 (a) 
Jordan's "Gallery/' 82, axx, 1x3. **$* 

ISO* X3i 203 
Jerninghftin, Sir G., 

Jessup, Abigail, 184 

Jessup, A. P. (see Beechey, Lady) 

Jessup, W., 8 

Jodrell, Lady and Miss, 163, 257, 258 

Johnson, Mrs., 48 

Johnson, Mrs, C, 210 

Johnston, A. P. and J. P., 205 

Johnstone, Mrs., 222 

Jones, Mrs. Champion, 187 

KEEN, Miss, 223 

Kemble, J. P., 66 

Kensington Palace, 60 

Kent, Duchess of and Princess 

Victoria, 156-7, 252, 254 
Kent, Duke of, 129-130 135, 152, 224, 

229, 239, 240, 241 
Kilderbee, S., 132 
King, Hon. Cap., 240 
King, Joshua, 171 
King, Lady, 81 n 
King, Sir Rd , 206 
Kingsford, Mrs , 195 
Kingston, Cap., 259 
Kits, Mr., 259 
Knight's " Gallery," 78 
Knox, Mr., 222 

LADBROKE, Mrs., 177 

Lake, Viscount, and Son, 206 

Lamb, Dr. John, 167 

Lane, J, B. t 209 

Lane, Thos., 206, 239 (2) 

Langlands [? Longlands] , Mr., 223 

Langley, Mrs , 108, 224 

l-ansdowne, Marquess of, 228 

Lavima Returning from Gleamn^yi. 

Law, Bishop, G. H., 133, 167, 238 

Lawless, Robin, 206 

Lawrence, Sir T., n, 35, 36, 40, 50, 

Si 66, 93, 183 
Leach, Sir J., 150, 246 (2), 256 ["The 

Vice-Chancellor "] 
Leak, W.. 144, 250, 251 
Leake, Miss, 54 
Leathes, Major, 208 
Leconfield, Lord, 80-81, 160, 168 
Lee, Miss, 247 (a) 
Leeds, Duke of, 203 
Leeds, Mrs,, 112, 228, 231 
Lefort, Mrs., 237 
Leicester, Sir J., 119, 232, 237 
Le Mesurier, Thos., 47 



Lenthall Gallery, 4 

Leslie, C. R., 15, 170 

Lewes, Mr. or Mrs., 221 

Lewis, Mr., 233, 234 

Leycester, Hugh, 150, 154, 248, 249, 

250 (2) 

Light, Mr , 224 
Lilian, 166 
Lionel!, J., sen , i , 
Linwood, Miss, 207 
Littledale, T., 207 
Little Gleaner* The, 167, 194 
Littleton, Mrs., 249, 252 
Livius, Geo., 207 
Lloyd, Major, 21 

Loftus [or Loftie], Mr. or Mrs., 231 
London Hospital, 107, 226 
Long, Genl., 238 
Long, H. L., 65 
Long, Mr,, 239, 240 
Long, Mrs. E., 65, 253 
Longlands [? Langlands], Mr. and 

Mrs , 222, 23^ 

Loudon and Moira, Countess of, 242 
Louvre, The, 219 
Lowndes portraits, 162, 163, 256 (3), 

257, 258, 259 (2) 
Lowther, Viscount, 255 
Luptpn, T., 173, 174 
Lushington, Miss, 67 
Lushington, Sir S , 227 
Lyceum, 27 

Lysart [or Lysaght], Capt, 234 (2) 
Lyon, Mrs., 252, 253 

MACARTNEY, Lord, 37, 222 
Mackenzie, 68 
Macklin, C., 207 
Mackworth-Praed, Miss, 211 
MacNabb, Mrs , 223 
Macready, Mrs., 195 
McChntosh, Mrs., 251 
Magdalen Hospital, 212, 242 
M ait land, Mrs., 222 
Majendie, H. W. , 85-6, 225 
Makepeace, Mr., 49 
Malcolm, Mr. W. K, 106 
Maltby, Dr. E,, 174 
Maltby, G., 23 
Manchester, Duke of, 222 
Manners-Button, Bishop, 44 
Manning, Mrs., 257 (2) 
Margate^ View near, 90 

Marine Society, 81 

Marjonbanks, Mr., 256 

Markham, Admiral, 123, 229, 230 

Marshall, Mrs., 207 

Mary, Princess, 52, 53, 246 

Marylebone, Parish of, 243, 247 

Martin, Mrs. W., 255 (2) 

Martmeau, P. M., 167 

Mash, Mr., 174 

Massey-Mamwarmg Sale, 83 

Mather, Mr., 248 

Matthews, Mrs., 235, 236, 248 

Mayhew, Rev. S. M , 75 

Maynard, Lady, 250 

Maynard, Lord, 132, 235 

Meares, John, 208, 223 

Meg Memlies, 147 

Mellon, Miss, 86-88, 225, 229 

Mernman, Mr., 256 

Merry, Mrs., 208 

Messenger, The, 112, 114 

Meux portraits, 39, 47, 49, 224 

Meyer, C, F., 209 

Meyer, H., 139, 161, 199, 202, 218 

Meynck, Mrs. 251 (2) 

Michlurst [?], Mrs., 238 (2) 

Miles, E , 24 

Military Exhibition, 73 

Mirza-ab-ul-Hassan, 115-6 

Monarchs of Great Britain, Ex 


Money, Major, 21, 22 
Monk at for Devotions, no 
Montague, Duke of, 32, 37, 222, 223 

(copies of) 

Montague, Lady ? M.] s 222 
Montague, Lady C., 222 
Montague, Lady E., 222 
Montague* Lord F , 39 
Montague, Lord Henry, 222, 223 
Montgomery, Capt., 39 
Monthly Mirror, 5, 9, 29, 32, 37, 50, 

54, 60, 62, 71, 76, 84, 188, 207 
Moray, Mrs., 253(2) 
Morgan, Mr. J. P., 36 
Morgan, Mrs., 253 
Morning Chronicle, 27 
Mortimer, Thos., 209 
Morton, Lord and Lady, 37, 222 
Moser, Mary, 101 
Mulgrave, Lord, io8w, 109, 226 
Muskett, Miss, 165 
Myers family picture, 229, 230 



NATIONAL Gallery, London, 205 
National Gallery, Scotland, in 
National Portrait Gallery, 46, 105 n., 

118, 120, 125, 130, 177, 210, 213 
Naval Exhibitions, 105, 106, 166, 172, 

202, 205, 2x7, 218 
Nayler, Sir Geo., 165 
Neal, iir H. B. , 209, 224 
Nelson, Lord, 18, 68, 74-6, 225 
Nelson, Rev. E. , 72-3 
Newbury, Countess of, 209 
New Gallery, 80 
Noel, Hon. Louisa, 146 
Noel, Mrs. W., 146, 245, 246 
Noel, Sir G. , 250, 251 
Nollekens, J., 81 ., 120-123, 126 ., 

XT 255 (2) T , 
Norreys, Lord, 222 

North, Mr., 229, 240 

Nonhcote, J., 70 w. 

Northwick, Lord, 71 . 

Norton, Hon. Mrs., 168-9, 258 

Norton, W. P., 173 

Norwich, 5, 7, 17-26, 74, 163, 164, 

Norwich, Bishop of. See Manners- 

Nugent, T., 212 

OBEN, T. G., 137 

Oddie family vi. f 39, 222 

Oddie, Mr., 223 

Onley, C. S., 164, 257 

Orford, Lord, 21 

Ormond, Countess of, 108 /z.> 109, 229 

Osborn, J. T., 155 

Osborne, Lord and Lady F., 210 

Osuna children, 210 

Owen, Miss, 178 

Owen of Tooks Court, 6 

Owen, Sir J. and Lady, 135, 34 2 4 2 

352, 254 
Oxenden, Sir H , 223 

PALEY, Rev. W., 210, 229 
Palmer, Mr,, 241 (2), 242 
Paoli, Gen., 232 
Park, T., 38 
Parke,John, 177 
Parker, 215 
Parker, Sir W., 105 
Parry t? Perry], Lieut., 250 
Partridge, J., 18 

Pasley, Sir T., 48 

Patteson, J., and J. S., 18, 226,227, 

Payne, Miss M. A., 210 

Payne, Mr., 235 (2) 
Peachey,.Capt., and Miss, 


Pearse, Dr. W., 210, 226, 228, 229, 


Pedley, Mr., 247 (2) 
Peel, Sir R., 120 
Peiice, Mrs., 223 
Penn, John, 88 
Penzance, 34 
Percival portraits, 124-5, 237, 242, 

245, 256 

Perry, Lieut., 248 (2) 
Persian Ambassador, 115-6, 118, 232 
Pettigrew's " Biographies," 204 
Pettyt (or Pettit), Mr., 230 (2) 
Petworth, 80. See alsorLeconheld, Ld. 
Peveril, Miss, 210 
Peyton, Mrs., 257 
Pfungst, Mr. H., 200, 219 
Phillips, G. H., 171 
Phillips, Sir Faudel-, 142, 203 
Phipps children, 108 
Phipps, Mr., 240 
Picart,G.C.,78, 125 
Picton, Sir T., 130-136, 241 
Piercy, Rev. W., 211 
Piggott, Mrs., copy after Downman, 

243 (2) 

Pjgott, Dr., 157, 242, 243 
Platoff, Hetman, 243 
Plowden portraits, 171-2, 249, 250 
Pole, Sir C.. an, 248, 249 (Sir T. 


Porchester portraits, 211,223, 229 
Powell, Mrs., 221, 238 
Poynder, Mr. and Mrs., 253 (3) 
Prasger, Mr., 251 
Preston, Rev. C. H., 258 
Preston, Sir R., and Mary, 120, 230(2), 

235, 241 (2), 242 
Price, James, 134 
Prince, Rev. J., an, 242 (2) 
Pntthwell> ae# 9 no 
Psyche, 82-*, 90, 171, 178, 195 
Public Cnaracters, 5, 6, 8, 64, 71, 104, 

190, 210, 214 
Pulteney, Mr., 249, 251 
Pulteney, Mrs. E. E., 244 
Pybus, C. S,, 82 



QUILLEY, J.P., 2l6 

RADNOR, Earl of, 76 

Raeburn, Sir Hy., 160-1 

Raikes, Mrs. J. M , 212, 225 (2) 

Ranelegh, Lady, 252 

Ranelegh, Lord, 251 

Ransome, T., 24 

Raphael, Mr. E. G,, 187 

Ravensworth, Lord, 215 

Reade, Col., 236, 253 

Reade poi traits, 212-3, 235 (2), 237 (2) 

Reading, Miss, 251 (2) 

Rebecca, 76 

Recording Angel, The, 232 

Redgrave, R. and S., 13 

Reeve, Miss L. J. , 204 

Rembrandt, Copy of, 233 

Revoult, John, 213 

Reynolds, Sir J., 7, 8, n, 16, 17, 35, 

37, 70-71 ., 125, 191, 229, 259 
Reynolds, S. W., 29, 150, 172-3, 


Rhodes (or Rothes), Mr, 258, 259 
Riddle, Mr., 257 
Ridley, W., 54, 207 
Rigaud, J. F., letters from, gzetseq. 
Rignall, Mr., 255 
Riley, Mrs., in., 146, 192 
Robarts, Miss E , 176 
Roberts, Mr., 235 
Robertson, Miss, 250 
Robinson, H,, in 
Robinson, Mr., 31 
Robinson, Mrs., 71 n. 
Romney, Earl of, 80, 81 n, 
Romney, G., 12, 69, 210 
Rosahe and Lubzn, 38 
Rose, Geo,, 213 

Rothes (or Rhodes), Mr., 258, 259 
Rothschild, Mrs., 257 
Rothwell, R., 189 
Rons, Lord and Lady, 49, 214, 233, 

2 34 

Roxburghe, Duke of, 214, 222 
Roxby, Miss, 47, 48 
Royal Academy quarrels, 90-102 
Royal Academy, Sandby 's "Histoiy," 

12, 28 

Rudd, Mr., 214 
Ruspmi, Chev,, 9, 10 
Russell, J. W., 79, 244 (3) 
Russell, Lord J., 198, 223 

ST. ALBANS, Duchess (see Mellon, 


$. John in the Wilderness, 147, 148 
St. John the Baptist, 65, 239, 240 
St. Radigund'sAtbev, 79 
St. S-withzaris Chair, 168-9 
St. Vincent, Earl of, 75, 89, 103, 

104-7, 179-182, 209, 218, 224 (3), 


Salisbury, Marquis of, 70, 86 
Salomon, J. P., 214 
Salte, W., 123, 235 (25,236 
Sandby, Mr., 177 
Sandby, P., vi., 29, 33, 184 
Sandby, T, vi., 39, 40 
Sandford, Mr., 234, 237 
Say, W.,82, 142, 148, 149, 164, 198, 

X99, 201, 202, 2X1 

Scarlett, Mr., 251, 252 

Scharf, Sir Geo., 198 

Schomberg, Capt. C. M., 166 

Scriven, E,, 8p r 86, 129, 143, 165 

Scudamore, Sir C., 176 

Sedelmeyer, M., 84, 201, 209, 212 

Seguier, P. F., 16 

Selsey, Lord, 135 

Serres, D., 31 

Sharp, M., 19 

Sharpe, Mrs., 178 

Sharpe, W., 68 

Shee, Sir M. A., 12, 136-7, 170 

Sheffield, Earl of, 155 

Sheldon, J , 21, 23 

Shelley children, 2x4-5 

Sheridan, Mrs., 8, 259 

Siddons, Mrs., 45-6 

Sidmouth, Lord, 59, 215 

Sievier, R. W.,X43 

Sign, George and Dragon, 5 i 

Simeon, E. and J , 228 

Simeon, Mr., 226, 227 

Simmond. See Symmonds 

Simpson, John, 2x5 

Simpson, Mrs., 223 

Sitwell, Sir Geo., 216 

Skelton, Mr., 140 

Skelton, W., 108, 109, 125, 129, 156, 

212, 218 

Skirrow, Mr., 234 
Skottowe, Mrs., 79 
Slade, Mr., 246, 250 
Sligo, Marchioness of, viii., 113-4, 

227 (2) 



Smirke, R., 13 

Smith, Ashton, 154, 216, 248,249, 259 
Smith, B., 59 

Smith, J. Chaloner, 25, 39 *. 
Smith, J. R., 200 
Smith, Mr., 223 
Smith, Mrs. T., 211 
Smith, Sir C., 246, 247 
Snow, Mrs. F., 216 
Soane, Mrs., 221 
Society of Artists, 19 
Somerset, Duke of, 171 
Somerset House Gazette, 183 
Somemlle, Lord, 6x, 154 . 
Sophia of Gloucester, Princess, 80, 

Southey, Dr., 177 

Sparke, B. E., 171. 2 43> *45 

Spencer, C., 19) 250 

Spicer, Mrs.,86 

Spielmann, Sir Isidore, vi., 192 

Stafford, Marquis of, no 

Staines, Sir W., 81 

Stanley, Lady, 247, 248 

Stanley, Sir Thos., 245, 248 (2) 

Staveley, Lady, ix 

Stephen, Mrs. O.L., 204 

Stephens, Sir P., 48, 252 

Stephens, S., 216, 221 

Stephenson, Col, 249 

Stevenson, Admiral, 217 

Stewart, Miss, 246 

Stocks, U 85 

Stopford, Lord, 37 

Storer, Mrs. .,176 

Stoweil, Lord, vui. 

Stow-m-the-Wold, $ 


Stradbroke, Earl, 49,132 
Stuart, Miss, 222, 245 
Sullivan, Mr., 227 
Sussex, Duke of, 74. ia 4 129 ., 3 OI i 

133*., 134, 240, 24i,47 
Symonds, Dr., 44, 4* 81, 232 
Symonds, or Symmons, J, and Mrs. 

x6i, 162, 232 (3), 233 

Tatnell, The Misses, 225 (2) 
Temple, Lady,79 
Thornason, Mr,, 227 
Thompson, Mr., 230. 3 8 

Thomson, 1 , 78, 140, 204 

Thorpe, Aid., 250 

Tibbit, Mrs. and child, 254, (2), 256 

Times* The, 14, 46, 208 

Tomkms, P. W., 131 

Torris [?], Mr., 238, 239 

Tower, Capt., 239, 240 

Towers, Mr., 227, 234 

Townley, C., 48 

Townshend, Lord, 19 

Tracy, Hon. Henrietta, 217, 224 

Tracy, Lord, 44, 217 

Trafford,Mr.E. S.,217 


Tresham, H.,94 

Trinity House, 172 

Trotter, J., 64-5, 234 

Ti otter, Miss, 256 

Trowbridge, Sir T., 217 

Turner, Charles, 86, 100,120, 138, 155, 

158, 202, 203, 206 
Turner, Dawson, 7, 18, 23, 215 
Turner, Mr., 257 
Turner, Rev. Mr., 249 
Turner, Sir G. P., an, 214, 236 
Twiss,H.,46 . 
Twistton [?j, Miss, 249 
Tyrone, Lord, 223 

Una , Lady as, 154 . 
United Friars of Norwich, 24 

Unthank,Col., 164 
Usher, Capt ., 168 

VAN DYCK, sketch of (or by), 257 

Vendramini, G., 126, 213 

Venus and Cufrd, 81 ., 90, 118-9, 160, 


Vernon, Mr., 258 
Vicars, Messrs., 204 
Vice-Chancellor, i.e., Sir John Leach 
Victoria Exhibition, 107, 149, 156 
Victoria, Queen, 156 
Vincent, Mr., 231 

WADDINGTON, Mrs., 223 
Waldegrave, Lord and Lady, 80, 155 
Waller, The Misses, 218 




Warburton, Sir P. and Lady, 131, 

235(2). 2 35(2) 

Ward, James, 61, 67, 70, 154,204, 213 
Ward, John, 218 

Ward, Mr. and Mrs., 255,258 (2) 
Ward, Mr. T. H ,40, 60, 70 
Ward, William, 144, 145, 151, 157, 218 
Wardlaw, Major, 206 
Warren, C., 130 
Warren, Sir Geo , 223 
Waterloo, 136 

Watkms, Mr. and Mrs., 240, 241, 245 
Watson, Capt., 132 
Watson, Caroline, 76, 84 
Watson, Miss, 48 
Watt, J., 78, 231 
Watts, A. A., 5 
Watts, D. P., 78-9 
Webb, Mr., 224, 225 
Wedderburn Children, 65 
Welbank, Capf., 242 
Wellington, Duke of, 75, 218, 239 
West, B., 91, 124 
Westall, R., 51 
Wetherall, Genl., 242 (2), 258 
Wetherall, Mrs. and Miss, vii , 112, 


Wheatley, Francis, 35 
Wheeler, Mr., 222 
Whitbread, S , 218 
Wilkie, D, iio-m 
Wilkm, C., vii., 40 

Wilkins portraits, 175-6, 137, 241, 257 
William IV,, 172, 174 

Williams, John, 43. 44. 45. 40. 50 

Wilmot, Mrs , 223 

Wilmot, R., 39 

Wilson, John, 219 

Wilson, Rd., 183 

Wilton, Mr., 244 

Windsor Castle, 70, 156 

Windsor, Lady H., 249 

Wmdus, Mr. W. , 192 

Winter, M., 213 

W^^ch ofEndor, 24 

Wivell, A., 121 

Walcot, J., 35 

Wood, John, 177 

Wood, Miss, 177 

Woodcock, R., 24 

Woodford, Mrs , 250 

Woods, T. H., 8 

Woolnpth, T., 143 

Worthington, Mrs., 191, 255, 256 

Wright, Mrs. J , 218 

Wurtembeig, Queen of, 53 

Wyndham, Miss, 85 

Wynn, Mr,, 222 

YELD, Miss, 252 

York, Duchess of, 71, 108, 228, 234 

York, Duke of, {7, 59, 61, 70, 73-4, 

119-20, 225, 226 

Young, J., 24, 25, 26, in, 119, 203 
Young, Lady, 48, 49 
Young, Sir W. t 67 


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